



b. 180-181
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composition: Op. 49, Fantaisie in F minor
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The FE pedal markings take advantage of the harmonic legato, carefully written out by Chopin, and is recommended as such, particularly on contemporary pianos – cf. bars 43-48. Due to this fact, as in those bars, in the main text we include it in a variant form, keeping the A indication as the principal one. In GE there is no category imprint: Differences between sources |
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b. 180-187
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composition: Op. 49, Fantaisie in F minor
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Between bars 180-181, 182-183 and analog., in addition to four necessary ties, FE includes a fifth one, at the pitch of b category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Errors in EE , Errors of A , FE revisions |
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b. 180-183
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we do not include the inauthentic L.H. part fingering added by EE. category imprint: Differences between sources issues: EE revisions |
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b. 180-182
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the flats lowering e to e In A in bar 180 we can see a small cross (×) over the problematic note. It seems improbable that this mark, although written in ink, could have come from Chopin. It is probably an addition by someone who was going through the manuscript and had doubts about the pitch of this note. Was it the reviser of GE? If that were the case, it would be strange that he marked only this place, since the Sonata abounds in such issues (however, see the note on bar 255). Therefore, it could be a mark added by one of the later owners of the manuscript. category imprint: Differences between sources; Editorial revisions issues: Omissions to cancel alteration , Foreign hand additions in manuscripts , Errors of A |
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b. 180
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composition: (Op. 4), Sonata in C minor, Mvt IV
category imprint: Differences between sources issues: Errors in FE |