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b. 222
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we give the fingering of FED, which comes from Chopin. A similar hand position is suggested by Fontana in EE. In turn, the entry of FEH defines a different combination, much less convenient (it may be a mistake). category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH |
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b. 222
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we allow a variant possibility of repeating the d category imprint: Differences between sources; Corrections & alterations |
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b. 222
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composition: Op. 22, Polonaise
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The change of the wedge to a staccato dot is probably a revision of GE, in which the wedge, absent both in the preceding R.H. and L.H. figures and in the identical figure in b. 226, was considered a mistake. Indeed, a mistake of the engraver of FE at the time of interpreting [A] cannot be ruled out; however, since the repetition of this fragment (b. 242) is also provided with a wedge in FE, we keep this version, probably authentic. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 222-223
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composition: Op. 23, Ballade in G minor
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In the main text we include the pedal markings added by Chopin while proofreading FE (→GE,EE). In b. 223 in GE, the category imprint: Differences between sources |
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b. 222-223
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composition: Op. 23, Ballade in G minor
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In A, there is no category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Accidentals in different octaves , Inaccuracies in A |
1-f
asterisk is placed after the d minim. It must be a mistake, probably a 'mirror' mistake – placing a mark on the wrong side of a reference point, e.g. a note.
to the bottom note of the 2nd L.H. crotchet in b. 222 (f
to b
in the middle of b. 222.