|
b. 136-137
|
composition: Op. 11, Concerto in E minor, Mvt III
..
Like in bars 128-129, the fingerings entered in FEH and given by Fontana in EE complement the Chopinesque printed indications. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
|||||||||||||
|
b. 136-168
|
composition: Op. 31, Scherzo in B♭ minor
..
Just like in b. 4-36, in the main text we keep the notation of the bars filled with rests used by Chopin in A (→FC). The majority of the editions complemented the notation with digits denoting the number of bars (1 or 2 in b. 155-156) or numbering the bars (1 or 1 2). category imprint: Differences between sources issues: GE revisions , FE revisions |
|||||||||||||
|
b. 136-137
|
composition: Op. 22, Polonaise
..
We suggest adding a slur in the main text, which, as indicated by the comparison with three previous similar motifs, was most probably overlooked. In turn, there are no grounds to regard the versions of GE and EE, in which the 1st quaver in b. 137 was provided with a staccato mark, as authentic. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
|||||||||||||
|
b. 136-137
|
composition: Op. 50 No. 3, Mazurka in C♯ minor
..
The slur of AF is almost certainly Chopin's mistake, which is indicated by a comparison with all analogous figures – b. 10-11, 12-13, 102-103, 104-105 and 134-135. The version of FE (→EE) is most probably a result of an inaccurate interpretation of the slur of AF, written with a flourish (like in b. 134-135). category imprint: Differences between sources issues: Inaccuracies in FE , Errors of A |
|||||||||||||
|
b. 136
|
composition: Op. 23, Ballade in G minor
..
The più vivo indication was entered into A instead of the earlier sempre più vivo (which was deleted). According to us, the omission of sempre could have been correlated with it having been added before più animato in b. 126 (that sempre having been added later is evidenced by an unnaturally greater gap between sempre and più than between più and animato). In this situation, forgoing the indications in two places for a single più animato in b. 126, which we can see in FE (→GE,EE), can be considered the last stage of shaping the agogic changes in this fragment – Chopin could have assumed that such a solution would define here the relationships between the tempi in a simplest and most accurate manner, since it is from this bar that a new section begins, featuring a clearly different texture. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Errors in FE , Corrections in A , Deletions in A , Authentic corrections of FE |
