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b. 230
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composition: Op. 23, Ballade in G minor
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In A Chopin overlooked the category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , Cautionary accidentals , FE revisions , Inaccuracies in A |
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b. 230
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composition: Op. 2, Variations, complete
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The authenticity of the fingering added by GE2 (→GE3,FESB), regardless of it being clearly accurate, seems questionable – see bar 208. The fact that the fingering was added in this very bar could be explained by the urge to remind about this indication at the beginning of a page, which in the case of GE starts from this bar. category imprint: Differences between sources issues: GE revisions |
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b. 230
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composition: Op. 2, Variations, complete
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As with bar 224, it seems highly unlikely that the replacement of the four dots (emphasising in A the final melodic idea in this phrase) with wedges (reminding that the variation should be performed staccato) was introduced by GE1 under the influence of Chopin. In this edition this bar opens the page, which could have prompted the engraver (reviser?) to reinterpret the Chopinesque markings in such a way (markings that could be considered incomplete, cf. the adjacent note). The absence of wedges in the L.H. part in FESB is most probably the engraver's mistake. category imprint: Differences between sources issues: GE revisions , Wedges , Errors in FESB |
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b. 230-231
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composition: (Op. 4), Sonata in C minor, Mvt I
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The sequence of pairs of chords present in these bars is a literal transposition of the sequence from bars 229-230. However, unlike that sequence, the discussed bars are devoid of slurs. According to us, it does not mean that they should be performed differently, as the slurs in bars 229-230 are to be considered a model to be followed also in these bars. To avoid any doubts, in the main text we add respective slurs, compliant with the GE revision (→FE,EE,IE). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 230
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In GE (→FE,EE,IE) the dots over the three L.H. chords were added probably by analogy with bar 231. We do not include them in the main text, leaving the choice of articulation to the performer. However, taking into account the fact that the use of staccato can be considered the most likely option, we consider the version of the editions to be an acceptable variant. category imprint: Differences between sources issues: GE revisions |
to the bottom note of the 1st L.H. octave (F
). The accidental was added by 
1. In the main text we also add naturals to c1 and c2; they were also added by 
