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b. 235
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composition: Op. 23, Ballade in G minor
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The deletion visible in A next to the c-c1 octave most probably covers the initial version of this octave. According to us, it could have been d-d1. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 235-238
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composition: Op. 2, Variations, complete
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In the main text we add cautionary flats to e category imprint: Editorial revisions |
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b. 235-237
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composition: Op. 23, Ballade in G minor
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The accents above the 2nd crotchet in bars 235 and 237 were added while proofreading FE, undoubtedly by Chopin. Assignment of the sign in bar 235 to the R.H. is probably the result of misinterpretation of the notation in FE by the engraver of GE, who believed that this accent, like the neighbouring ones, refers to the R.H. despite its lower position. category imprint: Differences between sources; Corrections & alterations |
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b. 235
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composition: Op. 49, Fantaisie in F minor
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As in analogous bar 155, the staccato dot was probably added to A after the basis for FE had been finished ([FC]). In GE the dot was overlooked (as was the slur). category imprint: Differences between sources issues: Errors in GE |
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b. 235-236
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composition: Op. 49, Fantaisie in F minor
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As in bars 68-69 and 155-156, both versions – with three accents in A and with one accent in FE – are authentic and can be considered equal. Due to this reason, in the main text we suggest a variant solution. EE2 added the accents noticed in GE1, yet they were considered short, in spite of the fact that the first mark, repeated after FE, was reproduced correctly as a long accent. category imprint: Differences between sources; Editorial revisions issues: Long accents , EE revisions , EE inaccuracies |
1 in bars 235 and 238.
