



b. 228-230
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composition: Op. 44, Polonaise in F♯ minor
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In AImaz the harmonic filling in b. 228 – crotchet on the 2nd beat of the bar – is written down as a minim. In b. 229 on the 3rd beat of the bar there is a crotchet instead of a L.H. rest. In b. 230 the L.H. part rhythm is the same as in the final version in b. 171, while in the R.H. part a1 is repeated on the 3rd beat of the bar. category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 228-229
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composition: Op. 23, Ballade in G minor
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The chromatic notation of A is inaccurate in a peculiar way – Chopin overlooked the category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Last key signature sign , Inaccuracies in A , Errors repeated in FE |
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b. 228-239
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composition: Op. 2, Variations, complete
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The semiquavers being grouped differently in the editions resulted from an arbitrary decision of the engraver of GE1 – see bars 208-227. category imprint: Differences between sources issues: GE revisions |
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b. 228-239
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composition: Op. 2, Variations, complete
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The initial edit of the solo part of this variation, the only one written down in AsI and crossed out in A, is discussed separately as Variation IV, initial version. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 228-230
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composition: Op. 49, Fantaisie in F minor
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In bar 228 and 230 the absence of accents in FE (→EE1) proves that Chopin added them to A after [FC] had been finished. In GE, and on the basis thereof also in EE1, the marks are standardised – long in GE and short in EE2. In the main text we give the A version with a pair of accents of different length in each of these bars. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE |