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b. 256
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composition: Op. 2, Variations, complete
..
In the manuscripts there are no accidentals in the second triplet (on the 3rd beat of the bar). In the main text we include both added flats – perhaps by Chopin in GE (→FE,EE) – although it is only the category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Authentic corrections of GE , Last key signature sign |
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b. 256
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composition: Op. 2, Variations, complete
..
In the main text we reproduce the clearly written slurs of A, although it is uncertain whether by differentiating the range of these slurs Chopin really wanted to suggest a detail of articulation. Both remaining, unified versions of slurring can be regarded as equivalent variants. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 256-257
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composition: Op. 49, Fantaisie in F minor
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As in analogous bars 172-173 and 176-177, in the main text we suggest adding arpeggio marks to the tenths on the basis of the arpeggios added by Chopin while proofreading FE1 in bars 85-86 and 89-90. category imprint: Editorial revisions |
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b. 257
|
composition: Op. 43, Tarantella
..
We add cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 257
|
composition: Op. 43, Tarantella
..
category imprint: Differences between sources issues: EE revisions , GE revisions |
restoring a
1 that is indispensable. Incidentally, also in the previous triplet, an octave higher, the 
before c2 in RH. A similar addition was made in 
2 in RH, similarly in