|
b. 246
|
composition: (Op. 4), Sonata in C minor, Mvt I
..
Chopin initially wrote the c category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , GE revisions , Cautionary accidentals , Enharmonic corrections |
|||||
|
b. 246
|
composition: (Op. 4), Sonata in C minor, Mvt I
..
In the main text we do not include the wedges and slurs added by GE (→FE,EE,IE) to the L.H. part after the markings present in these editions in the R.H. part – see the note on slurs in bars 245-247. It is difficult to say why the markings were added only just in this bar. category imprint: Differences between sources issues: GE revisions |
|||||
|
b. 247
|
composition: Op. 43, Tarantella category imprint: Differences between sources issues: EE revisions , GE revisions |
|||||
|
b. 247
|
composition: Op. 21, Concerto in F minor, Mvt I
..
The category imprint: Differences between sources issues: Inaccuracies in GE , fz – f |
|||||
|
b. 247
|
composition: Op. 21, Concerto in F minor, Mvt I
..
It is difficult to say what the motivation of the reviser of GE2 was, while providing the chords at the beginning of the bar with staccato dots. Perhaps he assigned a dot over the crotchet in the cello part in Morch to the chord in the L.H., which is not entirely excluded. In any case, the sign in the R.H. is certainly absent in A. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in A |
3 note in the 2nd quaver in the bar as d
3, which required the use of 
for the next quaver (d3). After changing the 2nd quaver to c
was added before f
2 in RH.
indication, appearing in the editions, seems to be completely accurate after a few-bar-long crescendo and could have been accepted by Chopin. However, it is most probably only a result of a misinterpretation of 
