



b. 170-172
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composition: Op. 23, Ballade in G minor
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The interpretation of the three
The versions of the editions resulted from the marks in b. 170-171 having been unified; none of these changes resembles Chopinesque proofreading process. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A |
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b. 170
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composition: Op. 49, Fantaisie in F minor
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In A Chopin deleted the pedal change on the 4th crotchet in the bar, yet in analogous bar 83 it was the other way around – there are two pedal changes in A (→GE) and one in FE (→EE). The fact that Chopin left various versions in these sources (which he proofread) proves that he hesitated, hence in the main text we suggest a variant solution. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A |
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b. 170-171
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composition: Op. 49, Fantaisie in F minor
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As in the 3 preceding bars, in A Chopin overlooked a number of necessary flats to g category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , FE revisions , Inaccuracies in A |
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b. 170
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composition: Op. 49, Fantaisie in F minor category imprint: Differences between sources issues: Errors in FE , FE revisions |
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b. 170
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composition: (Op. 4), Sonata in C minor, Mvt I
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The A notation is overly complicated here (perhaps due to corrections), which hampers the interpretation. In the main text we replace it by a version that clearly shows which notes are to be played and how long they are to be held. This kind of notation, in which one key press corresponds to – if possible – one note, was willingly used by Chopin, cf., e.g. bar 80, L.H. or IV mov., bar 386, R.H. In GE (→FE,EE,IE) the A version with a tie to d category imprint: Differences between sources; Editorial revisions issues: GE revisions |