



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 |
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b. 235-236
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composition: Op. 49, Fantaisie in F minor
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The missing pedal markings in GE1 must be an oversight (bar 235 ends a page, which is conducive to defects; in this case the engraver's distraction also included the preceding bar – see the note on the slur and category imprint: Differences between sources; Editorial revisions issues: Errors in GE , GE revisions |
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b. 235
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composition: (Op. 4), Sonata in C minor, Mvt I
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The category imprint: Interpretations within context issues: Accidentals in different octaves |