



b. 160
|
composition: Op. 50 No. 3, Mazurka in C♯ minor
..
There is an unjustified category imprint: Differences between sources issues: Cautionary accidentals |
||||||||
b. 160
|
composition: Op. 50 No. 3, Mazurka in C♯ minor
..
The mark in AF, in spite of its excessive size, could be considered a long accent if it were not for an even longer mark in analogous b. 168. Due to this reason, in the main text we keep the form of this mark written in AF, which, according to Chopin, could have been supposed to emphasise not only the minim, but also its modulating continuation. The absence of the mark in EE probably means that it was overlooked in the proof copy of FE. Then the long accent printed in the finished FE would be a result of Chopin's proofreading. A similar situation can be found in b. 168. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Scope of dynamic hairpins |
||||||||
b. 160
|
composition: Op. 2, Variations, complete
..
As before, in the main text we give a sixth, introduced by Chopin instead of a three-note chord while proofreading FE. In this bar, it is also AsI that provides the alternative L.H. part (featuring the three-note chord of the initial version). In this manuscript, a three-note chord – D-F-B category imprint: Differences between sources; Corrections & alterations; Source & stylistic information |
||||||||
b. 160
|
composition: Op. 49, Fantaisie in F minor
..
The FE (→EE) version with f as the last quaver in the bar must be a mistake, resulting from the similarity between the alternating figures in bars 160-161. category imprint: Differences between sources issues: Errors in FE |
||||||||
b. 160-163
|
composition: Op. 49, Fantaisie in F minor
..
As in the case of the previous, long slur, Chopin added 8 subsequent, half-bar slurs to A after [FC] had been finished. The EE2 slurs were added after comparing it with GE1. category imprint: Differences between sources; Corrections & alterations |