b. 172-173
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
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b. 172
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composition: Op. 16, Rondo in E♭ major
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In the main text, we add naturals before the 1st and 3rd semiquavers of the 2nd half of the bar (a2 and e3). The absence of accidentals in such a configuration was not considered a mistake back in Chopin's times – the accidentals from the 1st half of the bar, although they refer to a1 and e2, were considered to be valid also in the case of a2 and e3 in the further part of the bar, encompassed with an octave sign. category imprint: Interpretations within context; Editorial revisions issues: Accidentals in different octaves , Inaccuracies in FE |
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b. 172
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composition: Op. 16, Rondo in E♭ major
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We consider the missing staccato dots at the beginning of the bar to be an inaccuracy – cf. 3 previous, analogous bars. category imprint: Editorial revisions |
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b. 172
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composition: Op. 22, Polonaise
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The absence of in EE1 may mean that Chopin added this indication in the last stage of proofreading of FE. The mark was added in EE2, probably on the basis of comparison with GE1. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 172
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In AF the slur breaks here; however, it is uncertain whether it was supposed to indicate a division of the slur – one can see it as an inaccurately written combination of the slurs, which is how it was interpreted in FE (→EE). In the main text we give the continuous slur of GE, which almost certainly corresponds to the notation of [AG]. See also the note in the next bar. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |