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b. 195
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composition: Op. 49, Fantaisie in F minor
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In A the R.H. part in this bar was written down using shorthand notation (with the help of •/•) as a repetition of the preceding bar. In GE and FE (→EE) the R.H. part was written out in full. category imprint: Differences between sources issues: GE revisions , Abbreviated notation of A , FE revisions |
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b. 195-199
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic L.H. part fingering added by EE in bar 195 and 199. category imprint: Differences between sources issues: EE revisions |
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b. 195
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we suggest adding the espressivo indication after the analogous one in the exposition (bar 17). category imprint: Editorial revisions |
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b. 195-197
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A Chopin omitted the accidentals to the top notes of both chords in bar 195 and to the second chord in bar 197. The necessary accidentals were added in GE (→FE,EE,IE). In the main text, in addition to supplementing the omitted accidentals, we omit the category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 195
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The A slur clearly starts from the 2nd quaver, as in analogous bar 10, 12, 193. On the other hand, the ending of the slur breaks off under c1, which is a patent inaccuracy. This explains the action of the engraver of GE (→FE,IE), who "corrected" both ends of the Chopinesque slurs. The later starting point of the slur in EE, accidentally compliant with the A notation, must have resulted from the engraver's inaccuracy or could even be a printing defect. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions , EE inaccuracies |
to a1 in the 2nd chord in bar 195, unnecessarily repeated by Chopin.
