b. 153
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The indication was added in FE in the last stage of proofreading. Without [AG] it is difficult to say whether the same was true of GE or whether Chopin wrote it already in the aforementioned autograph. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 153
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of an accent in FE (→EE1), if not an oversight by the engraver, means that Chopin added the mark to GC (→GE). category imprint: Differences between sources issues: EE revisions , Errors in FE , Authentic corrections in GC |
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b. 153
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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FE1 has no sign here. It is undoubtedly an oversight by the engraver – the sign was added in FE2 (→EE,FE3→FE4), and is present in GC (→GE). category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
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b. 153
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composition: Op. 23, Ballade in G minor
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In A, the to the 2nd quaver (e2) and 3 naturals to the 5th crotchet in the bar (B-b and b1) are missing. All accidentals were already added by FE (→GE,EE). In the main text we also add cautionary naturals to g2 and a2. The latter was also added by EE. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , Omission of current key accidentals , Authentic corrections of FE , FE revisions , Inaccuracies in A |
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b. 154-155
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composition: Op. 39, Scherzo in C♯ minor
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FE and GE have a double bar line between those bars. In the case of GE, this is definitely a revision (in GC, its base text, the bar line is single). This makes us suspect that the version of FE may also result from a routine editorial revision. Chopin used double bar lines infrequently and never treated them as necessarily connected with the change of key. category imprint: Source & stylistic information issues: GE revisions , FE revisions |