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b. 150-151
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composition: Op. 11, Concerto in E minor, Mvt I
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Placing the accents only under the L.H. part, incomprehensible from the musical point of view, is probably a result of an inaccurate reproduction of the autograph's notation. According to us, Chopin most probably wrote the accents between the parts of both hands, which could not be repeated in print. Taking that into account, in the main text we add accents over the R.H. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 150-151
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composition: Op. 11, Concerto in E minor, Mvt III
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Initially, the fingering of FEH repeats the idea written in the previous bars. In the descending part of the passage, the fingering scheme of the ascending part is preserved, with a small exception for a convenient passing-over – the 2nd and not the 3rd finger on the 5th semiquaver of bar 151. That fingering could have been indicated by Chopin; however, since we are not able to confirm that possibility, we do not include it in the main text. category imprint: Differences between sources |
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b. 150-151
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the pedalling entered by Chopin into FC (→GE) in b. 150-151 and 174-175. category imprint: Differences between sources issues: Authentic corrections of FC |
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b. 150
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composition: Op. 22, Polonaise
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FE are lacking in the category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals |
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b. 150
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composition: Op. 22, Polonaise
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The flats in the second R.H. figure were added only in EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves |
before the 1st L.H. quaver. The patent mistake was corrected in the remaining editions.