



b. 139
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composition: Op. 44, Polonaise in F♯ minor
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Both versions are most probably authentic, hence in the main text we give the version of the principal source, FE. The slur next to the grace note may be understood as a conventional mark or as an arpeggio. Performance: category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 139
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composition: Op. 23, Ballade in G minor category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE , FE revisions |
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b. 139-140
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composition: Op. 23, Ballade in G minor
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In A, the parts of both hands in b. 139 and the R.H. part in b. 140 are marked in an abridged manner with •/• signs. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A |
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b. 139
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composition: Op. 2, Variations, complete
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
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b. 139-142
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composition: WN 29, Waltz in E minor
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The four whole-bar slurs of the sources, if they correspond to the notation of [A] at all, in this context mean only legato articulation. Longer slurs, especially of irregular shape, were then replaced by shorter ones, easier to engrave. Musically unjustified divisions also occurred in manuscripts, e.g. between lines. Taking into account the above, in the main text we encompass the entire passage with one slur in order not to suggest divisions, whose position and number could be accidental. category imprint: Editorial revisions |