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b. 246
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composition: Op. 49, Fantaisie in F minor
..
In the 2nd half of the bar there are no accidentals in A and FE. Three flats overlooked by Chopin were being added in the remaining editions – in GE1 two were added, to g category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 246
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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 |
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b. 246
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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 |
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b. 247
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composition: Op. 43, Tarantella category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
..
The category imprint: Differences between sources issues: Inaccuracies in GE , fz – f |
and g
3 note in the 2nd quaver in the bar as d
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