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b. 147-158
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composition: (Op. 4), Sonata in C minor, Mvt I
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In these bars it is only the top notes of the octaves that are provided with accidentals in A. This simplified notation was supplemented in GE (→FE,EE,IE) by adding all the missing accidentals. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 147-148
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The dots over the three chords are hardly visible in A (especially the first and third ones) due to the proximity of the top stave and the presence of dynamic hairpins or accents. This explains why they were omitted in GE (→FE,EE,IE). By contrast, the omission of the wedge at the beginning of bar 148 is due to the engraver's inadvertence only. The total absence of the marks in FE can be similarly explained. category imprint: Differences between sources issues: Errors in FE , Errors in GE |
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b. 148
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composition: Op. 43, Tarantella
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In EE the chord on the first beat in the LH part is notated as a dotted crotchet. category imprint: Differences between sources issues: EE revisions |
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b. 148-151
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composition: Op. 43, Tarantella
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In the sources bars 148-152 have varying slurs. Since the manuscript A was partly burnt it is not possible to determine Chopin's slurring of the first two bars of the phrase. Due to the notation inaccuracies in FC3 and lack of the remaining copies we cannot tell for sure what the composer intended here. It seems almost certain however that the slur did not begin in the middle of bar 149, and given the characteristics of Tarantella's themes and inaccuracies of the slurs it may be assumed that most certainly the slur in b. 149 began on the quaver and not the beginning of the bar. Compare annotation in b. 149. Moreover, sources FE(→IE) differ from the all the rest as here the slur extends as far as the chord on the first beat in b. 152. category imprint: Differences between sources issues: GE revisions , FE revisions |
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b. 148
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composition: Op. 43, Tarantella
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In A the second chord in LH is notated without augmantation dots or a rest. In FC3 (→FE→IE), EE, GE4 the chord is dotted. The dots may have been notated by Chopin [FC2] or they may have been added by Fontana as an 'obvious' edit. The latter seems more probable and so in the main text we present the version with a quaver rest since we find such notation in corresponding b. 152 in A. Sources GE1 (→GE2→GE3) copy A with no rest in b. 148 and a rest in b. 152. Compare annotation in b. 4. category imprint: Differences between sources |
