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b. 144
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composition: Op. 12, Variations in B♭ major
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The GE and EE versions most probably resulted from the engravers' inaccuracies or mistakes. According to us, the FE version is also inaccurate, even if it corresponds to the [A] notation, as it is hard to imagine that the absence of the last dashes could be indicating a sophisticated agogic nuance. Therefore, in the main text we suggest leading the dashes marking the range of the rallentando to the end of the bar, in accordance with the natural performance manner of figuration in this context. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , Errors in EE |
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b. 144
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composition: (Op. 4), Sonata in C minor, Mvt I
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The comparison with similar sequences of thirds reveals that the A slur cannot be accurate (perhaps due to ink stoppage). In the main text we provide the GE slur (→FE,EE,IE). category imprint: Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |
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b. 144-145
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The three A accents raise doubts as to their position and type of accent. In the first two figures the marks are written under the 3rd R.H. bottom voice quaver, while in the third one – slightly earlier. The first and third ones look like short accents; the second one is slightly longer. According to us, it is highly unlikely that Chopin would have wanted the third quaver to be accented. We do not find a strictly analogous place in the entire IV mov. of the Sonata, yet there is a number of similar situations in which we are dealing with accents – in bars 80-83 and 136-137, there are 7 accents in total, and all concern the first quaver, while 6 of them are long accents. Therefore, we could be dealing with an extreme example of one of the ways of marking long accents – marks entered after a note (cf. I mov., bars 82-84). Taking into account the above, in the main text we suggest long accents in the discussed place. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , GE revisions , Inaccuracies in A |
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b. 144
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composition: Op. 12, Variations in B♭ major
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In the main text we omit the naturals to e1 and a1 in the last sextuplet, unnecessarily repeated in all sources. category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 145
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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In A, the slur begins right after the 2nd quaver, so it is possible that it was meant to begin from the crotchet b flat1. Still, the most probable option is that it was intended to embrace the entire final phrase, and this is how it was interpreted in GE (→FE→EE). category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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