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b. 236
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 236-237
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composition: Op. 49, Fantaisie in F minor
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Out of the 27 half-bar accompaniment figures in three appearances of this theme (bars 68-72, 155-159 and 235-239), it is only in three of them that a change of the chord on which the figuration is based occurs in the middle of the figure, that is on the 4th quaver. The first time (bar 69) Chopin considered it in the pedal markings, whereas the next two times, right in the discussed bars, he did not. According to us, it is the composer's oversight, most probably resulting from haste in refining the manuscript (pedal markings were generally added to the finished text, in terms of rhythm and pitch, as one of the last elements of notation). Due to the above, in the main text we suggest a variant solution, with a possibility of releasing (changing) the pedal after the 1st triplet in each figure. category imprint: Editorial revisions issues: Inaccuracies in A |
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b. 236-237
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composition: Op. 49, Fantaisie in F minor
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Both versions of the dynamic markings are almost certainly authentic and were most probably added by Chopin independently to A and to [FC] or while proofreading FE. In EE2 the markings were changed after GE1. category imprint: Differences between sources; Corrections & alterations issues: EE revisions |
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b. 236
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composition: (Op. 4), Sonata in C minor, Mvt I
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Looking at the notation of the 2nd L.H. crotchet in A, one can have doubts whether it contains the c1 note, as one cannot see there a round notehead thereof, similar to g or d1. Its presence is proven by the fact that this crotchet's stem is clearly thicker, which is sometimes the only graphic element indicating the existence of a note on a ledger line in Chopin's autographs – cf., e.g. c1 at the beginning of the next bar, as well as some c3 and c4 in bars 231-235. The final assessment of such situations largely depends on the context, which in this place clearly supports the presence of c1 – this crotchet continues the sound plane initiated by the minim chords from the three previous bars, out of which each includes c1. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A |
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b. 236-237
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composition: (Op. 4), Sonata in C minor, Mvt I
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One or two wedges between these bars are probably in A. The mark in bar 237 was certainly entered as a wedge, yet the one in bar 236 could be simply a part of the wavy line used by Chopin to mark the range of an octave sign. This wavy line also intersects the wedge in bar 237, which could have been intentional if Chopin had wanted to abandon these marks. The first editions did not include the wedges. In the main text we provide the unquestionable wedge in bar 237 in a variant form (in brackets); at the same time, we suggest an alternative solution (also in brackets), that is both potential wedges. A single wedge is supported by a similar fragment in the exposition, in which a staccato mark is to be seen only over the final chord of the sequence (in bar 73). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
before a1. In 
and 
1-e1 third.
& cresc. in b. 237 in 
