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b. 138-140
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composition: Op. 12, Variations in B♭ major
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It seems unlikely that the absence of these two slurs in FE (→GE,EE) could indicate a change in the performance manner compared to the similar figures, hence in the main text we suggest adding them. The slur in bar 138 is modelled on an authentic slur in bar 120, while the slur in bar 140 on the slurs in the preceding bar, yet in this case we lead it to the end of the passage, as in bar 134. category imprint: Editorial revisions |
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b. 138
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composition: (Op. 4), Sonata in C minor, Mvt I
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It is difficult to consider the last of the slurs added by GE (→FE,EE,IE) – cf. bars 131-138 – to be justified, particularly when it comes to it having been written from the 1st crotchet in the bar. category imprint: Differences between sources issues: GE revisions |
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b. 138-139
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A there are no naturals to the last L.H. crotchet in bar 138 (a) and to the last quavers in bar 139 (e1 and e1). In GE (→FE,EE,IE) only the accidentals in bar 139 were added. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , Errors repeated in IE |
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b. 138
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composition: Op. 12, Variations in B♭ major
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The poorly visible lines, most probably indicating the moment the roulade should start with respect to the L.H. part, were entered – most probably by Chopin – into FEO. category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Synchronization markings , Annotations in FEO |
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b. 139
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composition: Op. 43, Tarantella
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In A c category imprint: Differences between sources |
1 in the following bar.