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b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC, in both bars, the 2nd, 3rd and 4th group of semiquavers are written in an abbreviated manner as repetition of the first. Similarly in analogous places – cf., bars 19-20, 23-24, 35-36, 39-40, 49-50 and 53-54. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In front of the 2nd semiquaver in each of these bars, there are no accidentals in the sources except for naturals added in GE2 (→GE3), which cannot come from Chopin. Therefore, it seems that the top note is supposed to be a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Last key signature sign , Errors of FC |
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b. 7
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composition: Op. 26 No 1, Polonaise in C♯ minor
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The missing staccato dot in FE, placed in A over the 1st quaver of the triplet, can be a result of Chopin's proofreading. The appearance of the dot in GE1 may be explained with the engraver's distraction, whereas a relevant correction was introduced in GE2 (→GE3→GE4→GE5). category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Authentic corrections of FE |
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b. 7-8
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composition: Op. 26 No 2, Polonaise in E♭ minor
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In GE1, probably as a result of an error, the 2nd beat of bar 7 and the entire bar 8 are written without staccato dots. In the subsequent GE, most likely in order to unify all occurrences of this fragment, the dots on the 3rd beat of bar 7 were also removed. Cf. bars 111-112. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 7
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composition: Op. 25 No 7, Etude in C♯ minor
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The slurring of EE is the original state, corrected by Chopin at the stage of manuscripts only in GC. The accurate sense of this correction is not clear (GE1 interpreted the slurs literally as non-connected), yet Chopin proofreading of FE dissipates the doubts concerning the composer's intention. Cf. analogous bars 50-51. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections in GC |
2. However, there are strong grounds, both source (proved also in other pieces Chopin's doubts concerning the notation of a/a
