|
b. 142
|
composition: Op. 49, Fantaisie in F minor
..
The safest explanation for the absence of the accent in FE (→EE) would be it having been added to A after the basis for FE had been finished ([FC]). An oversight seems to be less likely if we take into account the absence of accents also in bar 144, 146, 148 and 150. category imprint: Differences between sources; Corrections & alterations |
|||||
|
b. 142
|
composition: Op. 49, Fantaisie in F minor
..
In A and FE1 there is no category imprint: Interpretations within context; Differences between sources issues: GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
|||||
|
b. 142
|
composition: (Op. 4), Sonata in C minor, Mvt I
..
The wedge added by GE (→FE) was arbitrarily inserted by the engraver or the reviser, probably after comparing it with the following bars – in GE the discussed bar opens a page, while the bass octaves in the next three bars are provided with authentic wedges. The review of markings in all similar places – bars 123-130 and 139-146 – allows us to observe that Chopin provided with wedges some of the bass crotchets, but he never used a wedge to mark a quaver. category imprint: Differences between sources issues: Errors in EE , GE revisions , Errors in IE |
|||||
|
b. 142
|
composition: (Op. 4), Sonata in C minor, Mvt I
..
The range of the slur is vague both in A and GE – in both cases one could consider these slurs to be a quaver shorter than the ones we adopted to our transcriptions. Our interpretation of GE is confirmed by the version of the remaining editions, none of which considered this slur to be reaching the 7th quaver. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
|||||
|
b. 142-144
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
The version of the editions (with rests) can be considered an equal variant, since Chopin himself used this version in analogous bars 355-357. In the main text we keep the A notation, as, formally speaking, both versions are inaccurate, and the performance – synchronisation with the R.H. part – is determined by the way the notes are arranged. This is a record of "harmonic legato" – holding one's fingers on the keys in order to achieve actual chords within a linear sequence. category imprint: Differences between sources issues: GE revisions |
to the bottommost note of the last R.H. chord. The patent oversight was corrected in 
