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b. 250-251
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composition: Op. 44, Polonaise in F♯ minor
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Chopin could have entered here fingerings into [A] after Fontana had finished [FC]. category imprint: Differences between sources |
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b. 250-260
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composition: Op. 44, Polonaise in F♯ minor
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Separate L.H. slurs in b. 250-252 and 258-260 are an arbitrary revision of GE2. One reason for this might be the changes to the original layout performed in that edition, in particular moving the R.H. part fragments written down by Chopin on the bottom stave together with the L.H. part to the top stave. Due to the separation of the parts of both hands, it becomes less intuitive that the slur over the R.H. part applies to both hands (we do not reproduce the layout of GE2 in our transcriptions). category imprint: Differences between sources; Source & stylistic information issues: GE revisions |
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b. 250
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composition: Op. 23, Ballade in G minor
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The accent added in the stage of proofreading FE (→GE,EE) almost certainly comes from Chopin, hence we introduce it into the main text. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 250
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composition: Op. 49, Fantaisie in F minor
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FE2 restored – perhaps at Chopin's request – the version of the bottom notes of the first two quavers as it was in A, which is an argument that the FE1 text is almost certainly a double mistake by the engraver. category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |
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b. 250
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composition: Op. 49, Fantaisie in F minor
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In A and FE there is no accidental to the bottom note of the 7th quaver. One pedal for the entire 2nd half of the bar proves that Chopin heard here one chord, with g category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Inaccuracies in A , Errors repeated in FE |
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