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b. 240-241
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composition: Op. 44, Polonaise in F♯ minor
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As was the case with b. 181-182, the missing pedal markings in FE (→EE) suggest that Chopin added them to #A after [FC] had already been finished. The category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 240-246
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composition: Op. 2, Variations, complete
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In AsI in these bars, there is no indication that the bass line should be doubled an octave lower. It is likely that it is not an earlier version but a simplified, incomplete record, hence we do not regard it as a full-fledged variant. In all the remaining sources, the bass line is led in octaves, generally written down with the use of con 8va starting:
See also the adjacent note. category imprint: Differences between sources issues: Bass register changes , Abbreviated octaves' notation |
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b. 240
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composition: Op. 2, Variations, complete
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The change in the placement of the marcato indication, introduced by GE1 and the remaining editions, does not seem to be accidental; however, its authenticity remains uncertain. Therefore, in the main text we give the version of A, considering the notation of GE (→FE,EE,FESB) an equal variant. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 240-254
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composition: Op. 2, Variations, complete category imprint: Differences between sources |
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b. 240
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composition: Op. 49, Fantaisie in F minor
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Chopin would encompass rests within phrases with a slur a number of times, e.g. in bar 245 and 249. However, this is not that kind of situation, hence the continuous FE slur is almost certainly a mistake, perhaps resulting from the inaccurate slurs of [FC]. It was considered a mistake already in EE. In the main text we give the unequivocal A slurs (→GE). category imprint: Differences between sources issues: EE revisions , Errors in FE |
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