|
b. 208-227
|
composition: Op. 2, Variations, complete
..
In the main text we reproduce the non-standard beaming of A. It was the engraver of GE1 that applied the typical, four-semiquaver beams to make his work easier – half as many elements to be engraved – which was then adopted by the other editions. This applies to the entire Variation IV. category imprint: Differences between sources issues: GE revisions |
|||||
|
b. 208
|
composition: Op. 49, Fantaisie in F minor
..
We add a cautionary category imprint: Editorial revisions |
|||||
|
b. 208-210
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
In A both accidentals in the L.H. part in bar 208 are missing; the 4 naturals in the R.H. part are missing as well, to b1 in bar 208, b2 in bar 209, b3 and a3 in bar 210. All the necessary accidentals were added in GE (→FE,EE,IE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
|||||
|
b. 208
|
composition: Op. 12, Variations in B♭ major
..
Starting from a category imprint: Interpretations within context; Editorial revisions issues: Accidentals in different octaves , Inaccuracies in FE |
|||||
|
b. 208
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
In the main text, we do not include the inauthentic fingering added by EE. category imprint: Differences between sources issues: EE revisions |
before g
in the main text.
3, the sources are devoid of flats. In Chopin's time, there were no strict rules concerning the scope of accidentals under an octave sign (or they were not strictly observed), hence accidentals were often omitted in similar situations. Wherever the text is obvious, as, e.g. in this case, we add respective accidentals in content transcriptions and in the main text.
