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b. 172
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composition: (Op. 4), Sonata in C minor, Mvt I
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We add a cautionary category imprint: Editorial revisions |
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b. 172
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composition: (Op. 4), Sonata in C minor, Mvt I
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In this bar Chopin used a shorthand form of notation to write the octaves in the L.H. part – only top notes with the words sempre con 8va. In GE (→FE,EE,IE) the octaves were written in full. category imprint: Differences between sources issues: GE revisions , Abbreviated octaves' notation |
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b. 172
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composition: Op. 12, Variations in B♭ major
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The fingering digits were entered into the FEO teaching copy by Chopin, hence we provide them as a variant. category imprint: Differences between sources; Editorial revisions |
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b. 172-174
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we include the cautionary flats to e category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 172-175
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we provide the L.H. part as written by Chopin in A. GE (→FE,EE,IE) arbitrarily changed the layout of the quaver beams and flags to make it symmetrical with the R.H. part. According to us, the notation used in the editions, although inauthentic, seems to be better suited for the representation of the organisation of voices in this place, in particular emphasising the sequence in the bass as a separate voice is more natural than emphasising the tenor voice. category imprint: Differences between sources issues: GE revisions |
before g in the main text.
1(2) at the beginning of bar 172 and 174 added by 
