b. 234
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of the first slur is certainly an engraver's mistake, corrected in GE2. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 234
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of the last sign in FE is most probably an oversight of the engraver of FE (the sign was added in EE). We also regard as an undoubted mistake the total omission of the pedalling in GE (cf. the note on the accent). category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in GE , No pedal release mark |
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b. 234-237
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composition: Op. 21, Concerto in F minor, Mvt I
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The notation of A suggests that Chopin wanted to place the signs after the bar line, hence at the beginning of bars 235 and 237. In GE1 (→FE→EE) it was performed only for the second time, whereas in GE2, which was changed in GE2 to a standard notation with asterisks at the end of bar 234 and 236. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 234
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composition: Op. 21, Concerto in F minor, Mvt I
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category imprint: Differences between sources issues: GE revisions , Cautionary accidentals |
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b. 234
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composition: Op. 21, Concerto in F minor, Mvt I
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The first two accents in A (→GE1) are clearly long, whereas the next two look like short ones, which, according to us, is an inaccuracy – see bar 226. Both accents are actually written after the note, which was one of the manner of writing long accents in Chopin's previous pieces – cf. bar 230. It is also worth mentioning that the accent on the f1 semiquaver played in the L.H. is even shorter. Unification of the accents in the remaining editions is an arbitrary decision of the engravers of revisers. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE , GE revisions , Inaccuracies in A |