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b. 167-168
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composition: Op. 12, Variations in B♭ major
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In the main text we include the fingering digits entered into FEO (teaching copy). category imprint: Differences between sources; Editorial revisions |
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b. 167
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composition: Op. 12, Variations in B♭ major
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In GE the absence of 2 out of 3 fingering digits provided in FE could be blamed on the engraver's inattention, while the additional digit in EE – on revision. However, it is likely that the GE version represents the text of a proof copy of FE, which was then differently supplemented in the very FE and in the basis for EE, most probably by Chopin. In the main text we provide the FE version, which conveys almost the same volume of information as EE but with a smaller number of marks. Moreover, it is undoubtedly authentic, which cannot be said of EE (with certainty). category imprint: Differences between sources issues: EE revisions , Errors in GE , Authentic corrections of FE , Authentic corrections of EE |
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b. 168
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composition: Op. 43, Tarantella
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On the first beat of the bar there is category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 168
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composition: Op. 38, Ballade in F major
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As a result of an oversight, the B1-B octave in the L.H. in GC is a crotchet. The extending dots were added in GE. category imprint: Differences between sources issues: Omission of current key accidentals , Inaccuracies in GC |
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b. 168-176
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composition: Op. 42, Waltz in A♭ major
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Assuming a possible authenticity of the variants of EE in analogous bars 44, 52, 76 and 84, one has to allow application of this version also in bars 168 and 176. category imprint: Editorial revisions |
dynamic marking. However, such a marking is not justified here and since it does not exist in other sources, in the main text we present a version without the markings.
