|
b. 142-144
|
composition: Op. 22, Polonaise
..
Propagating the accent from b. 145 to the three previous seemingly similar situations is an arbitrary revision of EE, disregarding the harmonic context. See also b. 134-137. category imprint: Differences between sources issues: EE revisions |
|||||
|
b. 142-145
|
composition: Op. 50 No. 3, Mazurka in C♯ minor
..
The cresc. indications in b. 142 and 145 most probably come from [AG] (→GE). One could assume that in the autograph the indications were overlaid on a hairpin – category imprint: Differences between sources |
|||||
|
b. 142-144
|
composition: Op. 44, Polonaise in F♯ minor
..
The pedal markings of FE (→EE) in b. 142 and 144, whose authenticity cannot be denied, were most probably entered by Chopin into the basis for FE. It is indicated by the trace of correction visible in analogous b. 162 where the category imprint: Differences between sources issues: Inaccuracies in FE |
|||||
|
b. 142-144
|
composition: Op. 23, Ballade in G minor category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Omission of current key accidentals , Authentic corrections of FE , FE revisions , Inaccuracies in A |
|||||
|
b. 142
|
composition: Op. 2, Variations, complete
..
In A the last fingering digit in the 1st half of the bar concerning the R.H. (over f2) is 3, whereas GE1 printed there a 2 (by mistake). The mistake was corrected in all editions based on GE1 – in GE2 (→GE3) and FE the digit 3 was restored, while in EE the erroneous digit was removed. category imprint: Differences between sources issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE |
– a combination Chopin would willingly use.
sign was moved one beat earlier in print – its initial misplacement was probably due to misinterpretation of the manuscript.
sign analogously to the first. In