b. 242
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composition: Op. 43, Tarantella category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in GE |
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b. 242
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composition: Op. 43, Tarantella category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 242
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Same as in bar 54, we include in the main text the sharps raising the f1-f2 grace note to f1-f2, added – most probably by Chopin – in the proofreading of FE3 (→FE4). The change was introduced also in EE2. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Errors in FE , Errors in EE , Errors in GE , Omission of current key accidentals , Authentic corrections of FE , Errors of GC |
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b. 242
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composition: Op. 21, Concerto in F minor, Mvt I
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All sources have a before e2, a sign that we omit in the main text as an unjustified cautionary accidental in this context. Perhaps Chopin felt the need to mark the difference with respect to the previous half-bar figure, in which there is a d2 in this place – it would be another argument confirming the fact that the absence of before this d2 in A (→GE) is an oversight. category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 242
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composition: Op. 21, Concerto in F minor, Mvt I
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The natural raising d2 to d2 appears in A (→GE→FE1) only before the 13th semiquaver. The mistake was corrected – most probably by Chopin – in the proofreading of FE2 (→EE). In the main text, we omit the on the 13th semiquaver of the bar, superfluous in relation to the sign on the 4th semiquaver. category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A |