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b. 7
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In GE2 (→GE3→GE4→GE5) the beginning of the slur was arbitrarily moved over the 1st note of the bar, where the previous slur simultaneously ends. Similarly in bar 32. category imprint: Differences between sources issues: GE revisions |
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b. 7-10
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composition: Op. 25 No 10, Etude in B minor
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Three out of four accents in GC are undoubtedly long accents, the fourth one (in bar 8) may be interpreted as either long or short. In GE they were reproduced as short. EE includes distinct long accents in all these bars, FE – only in bars 9-10, yet the one in bar 7 may also be considered as long. Therefore, it seems that the use of long accents by Chopin is much more likely here. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 7-8
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composition: Op. 25 No 10, Etude in B minor
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In the 2nd half of the bar the sources repeat the sharps before A category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 7-8
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composition: Op. 25 No 12, Etude in C minor
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It is unknown who interpreted Chopin's notation more accurately – Fontana in FC (→GE1) or the engravers of FE and EE. The version of GE2 (→GE3) is certainly non-authentic (and erroneous). The authenticity of the version of FC is additionally supported by the compatibility of the range of the hairpins in both analogous places (here and in bars 53-54). category imprint: Differences between sources issues: GE revisions |
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b. 7-8
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The fact of beginning the category imprint: Differences between sources issues: Inaccuracies in FE |
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