|
b. 195-196
|
composition: Op. 43, Tarantella
category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE |
|||||||||||
|
b. 195-196
|
composition: Op. 39, Scherzo in C♯ minor
..
In EE, D flat1 in bar 195 is not held until bar 196, as there is no tie and the lower note of the L.H. octave in bar 196 is also absent. The notation of GC (→GE), when read literally, results in the same version. In our opinion, by writing 8 in bar 195 under D flat tied until the next bar Chopin almost certainly had in mind the pianistically natural holding of the entire octave. This undermines the reliability of the version of EE, which most probably results from a misinterpretation of the notation of GC. In FE, the holding of the entire octave is notated in the clear, doubtless manner. Similar ambiguities occur in analogous bars 239-240, while in bars 489-490 the notation of all the sources clearly indicates that the entire octave should be held. category imprint: Differences between sources |
|||||||||||
|
b. 195
|
composition: Op. 38, Ballade in F major category imprint: Differences between sources issues: Errors of GC |
|||||||||||
|
b. 195
|
composition: Op. 38, Ballade in F major
..
In A there is no category imprint: Interpretations within context; Editorial revisions issues: Accidentals in different octaves |
|||||||||||
|
b. 195-197
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
The two sources versions of slurring in these bars do not exhaust all the potentially authentic combinations of slurs – see bars 7-9. Therefore, as an alternative we suggest two more possibilities – a supplementation to the FE version, and a version analogous to the probably authentic EE slur added in bars 7-9. category imprint: Differences between sources |
1 not tied in 
before the lower note of the octave at the beginning of the bar (D
). The accidental was added in all the remaining sources. 
