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b. 216-219
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composition: Op. 39, Scherzo in C♯ minor
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We give the consistent version of two out of three autograph-based sources, i.e. EE and FE. Shortening - in relation to GC – of the hairpin sign in GE was probably due to the fact that bar 219 was the first bar on a new page in that edition. category imprint: Differences between sources |
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b. 216-217
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composition: Op. 42, Waltz in A♭ major
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The placement of crescendo differs slightly in particular sources. In FEG Chopin added cresc. under the last quaver in bar 216, and this is how it was reproduced by the engraver of GE1. In the next editions, GE2 (→GE3), the indication was moved slightly to the left, starting on the last quaver in bar 216. In EE the word crescendo was divided into syllables, which is a characteristic revision of the editor, and it was started at the end of bar 216. In the main text we adopt the indication of FE1, beginning in bar 217. category imprint: Differences between sources issues: Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE |
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b. 216
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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As in bar 28, in the main text we give the notation in GC (→GE) which raises no reservations. The lack of accents in FE is certainly a mistake, and the mark in EE – most probably a long accent – a complement likely by Chopin. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in FE , Authentic corrections of EE |
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b. 216
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composition: Op. 35, Sonata in B♭ minor, Mvt II category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 216-217
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The slur over the pair of octaves is overlooked in FE1. The mistake was corrected already in FE2. category imprint: Differences between sources issues: Errors in FE , FE revisions |
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