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b. 253
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composition: Op. 49, Fantaisie in F minor
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There are 2 possible explanations for the difference in the number of accents – either Chopin added to A 2 accents over the R.H. octaves or there were initially no accents here at all (as in analogous bar 153), which Chopin then added independently to A after [FC] had been finished and to the very [FC] or while proofreading FE1. In the main text we follow the version of the principal source (A), which, in this case, is of minimal importance. EE2 added the accents after comparing it with GE1. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE |
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b. 253
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the accent mark is not very long in itself, yet due to the quite dense notation, it fills more or less half the length of the section between the chord and the bar line, which allows us to consider it a long accent. This is how it was reproduced in GE. The short accents in the remaining editions are inaccuracies by the engravers. See also the notes on bars 249-253 and 254-256. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE , EE inaccuracies , |
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b. 253-257
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text, we do not include the inauthentic L.H. fingering added by EE. category imprint: Differences between sources issues: EE revisions |
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b. 254
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composition: Op. 43, Tarantella
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In GE unjustified category imprint: Differences between sources |
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b. 254
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composition: Op. 39, Scherzo in C♯ minor category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error |
was added before c2 in RH.