b. 310
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we include the mark present in GE. See b. 314-326. category imprint: Differences between sources |
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b. 310
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composition: Op. 2, Variations, complete
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The wedges in the editions resulted from the engraver of GE1 having misinterpreted the authentic dots. In GE3 wedges were arbitrarily added over the chords too (cf. bar 305). category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 310
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composition: Op. 2, Variations, complete
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The differences in the range of the hairpin resulted from routine revisions, adjusting the marks to rhythmic structures or beams – in GE1 (→GE2,EE,FE) on the left-hand side, while in FESB also on the right-hand side. The absence of the mark in GE3 is an oversight by the engraver. In the main text we reproduce the mark of A. category imprint: Differences between sources issues: Scope of dynamic hairpins , Errors in GE , GE revisions , FE revisions |
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b. 310
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composition: Op. 49, Fantaisie in F minor
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The difference in the position of between A and FE suggests that this indication did not get into FE on the basis of A (through [FC]), but was added independently to A and to FE or [FC]. It should be noted that each version is an element of an authentic, different concept of performing this theme (already from bar 290), quite consistently differentiated between A and FE. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Corrections in A |
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b. 310
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composition: Op. 49, Fantaisie in F minor
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The staccato marks for the right and the left hands were probably added by Chopin to A later (after [FC] had been finished), like many other indications in this fragment. In GE the wedge over the R.H. chord was considered a carelessly written dot, which is very frequent in the B & H editions. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |