



b. 231
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composition: Op. 2, Variations, complete
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In A the last two semiquavers in the parts of both hands are written down without any accidentals. Chopin's blatant oversight was corrected only by GE2 (→GE3,FESB), in which the necessary naturals and a cautionary category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: GE revisions , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 231-232
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composition: Op. 49, Fantaisie in F minor
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In A Chopin did not write flats in the 3rd triplet in each of these bars, which was repeated by FE1. In FE2 flats were added only in bar 232, while the notation is fully correct in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 231-232
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composition: (Op. 4), Sonata in C minor, Mvt I
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The sources do not include naturals to b2 in bar 231 and to b3 in bar 232, which is due to the fact that the rules of validity of accidentals when using an octave sign are different in the sources than in our edition. See also bar 235. category imprint: Interpretations within context issues: Accidentals in different octaves |
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b. 231-239
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composition: (Op. 4), Sonata in C minor, Mvt I
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The con forza indication is written in A between the bottom stave in bars 231-232 and the top stave in bar 239. Under this indication, and over the R.H. part in bar 239, one can see traces of removal of a mark, probably a verbal indication or, e.g. category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Corrections in A , Inaccuracies in A |
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b. 231
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Inaccuracies in A |