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b. 157
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composition: Op. 19, Bolero
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We place the semiquaver ending the bar over the last note of the triplet of the accompaniment, in accordance with the rule to which Chopin adhered his entire life. In FE (→GE→EE), the semiquaver is placed after the 3rd note of the triplet, most probably due to the unfamiliarity with the Chopinesque habit – the Bolero is the first (and only) piece by Chopin issued by this French publisher. Similarly, in bar 163. category imprint: Interpretations within context; Editorial revisions issues: Inaccuracies in FE |
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b. 157-158
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The missing slurs in GC (→GE1) must be an oversight – the copyist wrote only the part of the slur starting in b. 158, at the beginning of a new line, overlooking the slurring of b. 157. GE2 limited itself to adding slurs in b. 157 (most probably by analogy with b. 153) – the already printed slur in b. 158 was left unchanged. category imprint: Differences between sources issues: GE revisions , Errors of GC , Uncertain slur continuation |
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b. 157-158
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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Taking into account the versions of FE and GC, one may assume that the slur of GC at the end of b. 157 could have been added by Chopin. The aim of that change was undoubtedly a slur encompassing the entire three-quaver motif (as it is 4 bars earlier), which was guessed in EE (the correction could have even been introduced by Chopin in the Stichvorlage for EE). GE reproduced the notation of GC literally, i.e. as coinciding slurs. category imprint: Differences between sources issues: Inaccuracies in FE , Embracing slurs , EE inaccuracies , Authentic corrections in GC , Uncertain slur continuation |
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b. 157
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composition: Op. 21, Concerto in F minor, Mvt I
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The F quaver, present in A, is probably the original version – cf. the ascending sequence of bass in analogous bars in the recapitulation (bars 301, 303 and 305). In the main text we give D introduced most probably by Chopin in the proofreading of GE1 (→FE→EE) and analogous to preceding bars 151, 153 and 155. category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Accompaniment changes , Authentic corrections of GE |
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b. 157
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composition: Op. 21, Concerto in F minor, Mvt I
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In A (→GE1→FE) there are no accidentals in the 2nd half of the bar. The necessary naturals were added in EE and GE2. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A |
