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b. 317-318
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composition: Op. 21, Concerto in F minor, Mvt III
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In Morch Chopin shortened the value of the g-e1-b category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 317
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composition: Op. 11, Concerto in E minor, Mvt I
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The version of GE is most probably a mistake, although, just like in the case of the majority of Terzverschreibung errors, it is possible to accept the sound result. Admittedly, the bar does not repeat the previous harmonic scheme, yet the melodic analogy remains clear, and changing the final interval would distort, for no apparent reason, the octave line implemented from bar 315: category imprint: Differences between sources issues: Errors in GE , Terzverschreibung error |
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b. 317
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composition: Op. 11, Concerto in E minor, Mvt I
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The 1st finger written in FED determines a different hand position than the fingering in FEFo (and also FEH and EE). The authenticity of both fingerings seems probable, however, to the main text we choose the latter which adheres to the pattern indicated in the preceding bars. Such a consistency supports additionally the authenticity of this fingering, all the more since we cannot completely exclude a possible mistake in FED. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FEH , Annotations in FEFo |
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b. 317
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composition: Op. 2, Variations, complete
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This bar opens a new line. In the case of GE (→FE), the ending of the slur from bar 316 leads to confusion, since in the preceding bar none of those editions feature a beginning of any slur. Luckily, we are able to reproduce it in our transcriptions. Two possible interpretations of this notation – a slur from the last semiquaver in bar 316 and no slur correspond to the version of A with a correctly written slur and EE, in which this ending of a non-existent slur was removed. category imprint: Differences between sources issues: Errors in GE |
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b. 317
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composition: Op. 2, Variations, complete
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As so many times before, the dots having been reproduced as wedges resulted from the simplified interpretation of the notation of A by the engraver of GE1. In this case, it is very difficult to notice the second one, since it is overlapped by the cresc. indication. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Wedges , Inaccuracies in A |
1 chord in violins and violas to a crotchet – originally, it lasted almost two bars, same as the bass note of the C-c chord, held by cellos and double basses.
4 in 
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