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b. 239-240
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composition: Op. 44, Polonaise in F♯ minor
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In AImaz the bass sequence is placed an octave higher than in the final version, in which the interval of a tenth between the bass and the bottom notes of the R.H. chords is also kept in b. 180-181. category imprint: Corrections & alterations; Source & stylistic information issues: Bass register changes |
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b. 239-240
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composition: Op. 44, Polonaise in F♯ minor
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The absence of the L.H. slur is probably due to an oversight by the engraver of EE. category imprint: Differences between sources issues: Errors in EE |
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b. 239
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composition: Op. 2, Variations, complete
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As in bar 127, in the main text we propose in variant form (in brackets) the ending of the trill that appears in the 1st violin part in GEork (→FEork). category imprint: Editorial revisions |
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b. 239-241
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we do not include the inauthentic fingering concerning the L.H. octaves, added by EE. category imprint: Differences between sources issues: EE revisions |
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b. 239-240
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composition: (Op. 4), Sonata in C minor, Mvt I
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The meaning of the 3 slurs/ties in bar 239 visible in A (→GE→EE) is unclear, since they are not continued in the next bar, which opens a new line. One can see them as "tenuto-slurs", sometimes found in Chopin's autographs or as unfinished ties (to e category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: FE revisions , Uncertain slur continuation , Tenuto slurs , |
1 and c2) and an articulation-motivic slur (the third slur, the middle one). According to us, the second possibility is more likely – overlooked endings of the ties and the slur – and this is the version, introduced also by