b. 254
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing in GE seems to be an oversight of the engraver of GE1. However, performing this highly spectacular passage in dynamics is quite an uncommon effect, so that one can ponder whether the mark was not put in FE by mistake, e.g. instead of in bar 256, in which it was then added. Therefore, it would be an example of unfinished proofreading. (Cf. bar 248, in which a purely virtuoso element – scale in an interval of sixth – is dynamically distinguished between in bar 244 and leggierissimo in bar 250). category imprint: Differences between sources issues: Errors in GE |
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b. 254-259
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composition: Op. 11, Concerto in E minor, Mvt III
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Fontana's fingering in EE is most probably compliant with the one entered in FEH, although the indications themselves do not overlap. Providing indications only just in the second (identical) passage is noteworthy – it is a frequent phenomenon among the Chopinesque teaching entries. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 254-255
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composition: Op. 11, Concerto in E minor, Mvt III
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FE is missing naturals before the 6th semiquaver in bars 254 and 255. The patent inaccuracies were corrected in GE and EE. There is a similar situation in bar 258. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions |
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b. 254
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composition: Op. 16, Rondo in E♭ major
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We add cautionary flats before d2, g2 and g1 in the main text. The sources only have before d1. category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 254
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composition: Op. 22, Polonaise
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In the main text we add a cautionary before e2. The accidental was also added in GE3. category imprint: Differences between sources; Editorial revisions issues: GE revisions |