|
b. 143
|
composition: Op. 23, Ballade in G minor
..
In A, this bar is marked with •/• signs as a repetition of the preceding one. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A |
||||||||
|
b. 143
|
composition: WN 29, Waltz in E minor
..
The notation of PE1 (→PE2), which is devoid of the 1st beat of the bar on the top stave, although formally inaccurate, could be authentic, since Chopin would often omit rests specifying the voice scheme or filling the bar in quasi-polyphonic notation (e.g. in the R.H. in bars 117-119). Therefore, in the main text we leave it unchanged, since it seems unlikely that it could mislead the performers. In GE the bar on the top stave was completed by replacing 2 crotchet rests with a semibreve rest. An interesting yet rather unfortunate attempt at correcting the initial version of notation was made in PE3 by adding an additional stem to the bottom note of the octave, E1. This addition was removed in PE4, thus restoring the version of PE1. category imprint: Differences between sources issues: GE revisions , Inaccuracies in PE , Revisions in #PE |
||||||||
|
b. 143
|
composition: Op. 49, Fantaisie in F minor
..
In the 2nd half of the bar, the initial A version was an A-a crotchet and a crotchet rest. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
||||||||
|
b. 143-144
|
composition: (Op. 4), Sonata in C minor, Mvt I
..
In the main text we do not include the inauthentic R.H. part fingering added by EE. See also bars 150-155 and 159-162. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 143
|
composition: (Op. 4), Sonata in C minor, Mvt I
..
According to us, the source version of the 1st R.H. quaver is Chopin's mistake. In A the discussed bar opens a new page, which most probably made it difficult for Chopin to assess the relationship between the preceding quavers and the problematic tritone. Due to the above, in the main text we provide a version modelled after the pianistically more natural version of analogous bars 126-127, in which the tritone opening the new four-bar section is within the range determined by the preceding octave. category imprint: Editorial revisions issues: Errors of A |
3-g3 in 