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b. 157-158
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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Taking into account the versions of FE and GC, one may assume that the slur of GC at the end of b. 157 could have been added by Chopin. The aim of that change was undoubtedly a slur encompassing the entire three-quaver motif (as it is 4 bars earlier), which was guessed in EE (the correction could have even been introduced by Chopin in the Stichvorlage for EE). GE reproduced the notation of GC literally, i.e. as coinciding slurs. category imprint: Differences between sources issues: Inaccuracies in FE , Embracing slurs , EE inaccuracies , Authentic corrections in GC , Uncertain slur continuation |
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b. 157
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composition: Op. 21, Concerto in F minor, Mvt I
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The F quaver, present in A, is probably the original version – cf. the ascending sequence of bass in analogous bars in the recapitulation (bars 301, 303 and 305). In the main text we give D introduced most probably by Chopin in the proofreading of GE1 (→FE→EE) and analogous to preceding bars 151, 153 and 155. category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Accompaniment changes , Authentic corrections of GE |
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b. 157
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composition: Op. 21, Concerto in F minor, Mvt I
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In A (→GE1→FE) there are no accidentals in the 2nd half of the bar. The necessary naturals were added in EE and GE2. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 157-158
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composition: Op. 21, Concerto in F minor, Mvt III
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Bar 157 is a third in a row in which GE1 (→FE→EE) has a whole-bar slur contrary to A, although in this case the inaccuracy is justified by careless notation. The division of the slur in A at the transition between bars 157 and 158 has a minimal impact on the vision of phrasing in this case. Both inaccuracies were corrected in GE2. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 157
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composition: Op. 21, Concerto in F minor, Mvt III
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The missing staccato dot is certainly an oversight of the engraver of GE1 (→FE→EE). The sign also escaped the reviser of GE2. In the main text we add a dot also in the part of the L.H., since in the entire section Chopin would generally mark staccato on both staves (contrary to slurs – cf. bars 145-160). category imprint: Differences between sources issues: Errors in GE , GE revisions |
