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b. 219
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composition: Op. 11, Concerto in E minor, Mvt I
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All sources including respective indications define the same fingering. In the main text, like in the few previous bars, we give the indications written in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FEH |
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b. 219
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composition: Op. 22, Polonaise
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Just like in b. 75, the sources are lacking in the category imprint: Interpretations within context; Editorial revisions issues: Inaccuracies in FE , Errors repeated in GE , Errors repeated in EE |
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b. 219
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composition: Op. 23, Ballade in G minor
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In the three other occurrences of this bar – b. 217, 225 and 227 – the first f category imprint: Editorial revisions |
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b. 219-220
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composition: Op. 49, Fantaisie in F minor
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As in bars 77-82 and analog., shifting the R.H. semiquaver beyond the 3rd quaver in the L.H. triplet was an arbitrary decision by the engravers of GE and EE, contrary to Chopin's understanding of such combinations. category imprint: Differences between sources issues: EE revisions , GE revisions , Dotted rhythms and triplets |
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b. 219
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composition: Op. 49, Fantaisie in F minor
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As in bar 203, all sources include sharps (cautionary?) to A category imprint: Editorial revisions |
raising b
to b, which is a patent inaccuracy.
1 note is accentuated. Therefore, we consider the absence of an accent in this place to be Chopin's inadvertence.
