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b. 142
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composition: Op. 11, Concerto in E minor, Mvt III
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Accents are present in 11 similar figures of this and previous, analogous phrases, so that the missing mark in the indicated place must be considered an inaccuracy. In the main text, we add a long accent in accordance with the accents used in FE. The short accent added in GE3 and EE3 corresponds to the accents adopted in those editions. category imprint: Differences between sources; Editorial revisions issues: Long accents , EE revisions , GE revisions |
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b. 142
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composition: Op. 11, Concerto in E minor, Mvt III
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In FEH, there is an added cautionary category imprint: Differences between sources; Source & stylistic information |
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b. 142
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composition: Op. 31, Scherzo in B♭ minor
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FE has erroneously c as the last L.H. note. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE |
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b. 142
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composition: Op. 22, Polonaise
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There are no accidentals before the 4th and 8th semiquavers in FE (→EE,GE). The natural put before c4, the last note in the bar, proves that Chopin considered the category imprint: Interpretations within context issues: Accidentals in different octaves , Cautionary accidentals |
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b. 142
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composition: Op. 22, Polonaise
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The absence of a mordent both in EE and GE suggests that we are dealing with an oversight of the engraver of FE, which made its way to these editions; however, in FE it was corrected in the last stage of proofreading. In the main text we add an accidental – often omitted by Chopin in such situations – specifying the pitch of the mordent's top note. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Accidentals in different octaves , Inaccuracies in FE , Authentic corrections of FE |
before d
1 on the 2nd quaver in the L.H. It is difficult to determine what the motivation of the person adding that accidental was, since nothing suggests here a possibility of a mode change, whereas the last alteration of d
