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b. 259
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composition: Op. 44, Polonaise in F♯ minor
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In EE1 there is no category imprint: Differences between sources issues: EE revisions , EE inaccuracies |
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b. 259
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composition: Op. 23, Ballade in G minor
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In the main text we reproduce the notation of A, in which a diagonally crossed octave means a very fast arpeggio (faster than the one written down with the use of a grace note). The direction in which an octave should be broken results from the notation of the preceding octaves; moreover, it is indicated by the direction of the diagonal line crossing the stem of an octave. The absence of respective lines in the editions probably resulted from the engraver of FE not having understood this notation. category imprint: Differences between sources issues: Errors in FE |
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b. 259-261
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composition: Op. 23, Ballade in G minor
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In the case of five L.H. octaves, Chopin put an accidental only to one of the notes in A. The following accidentals are missing: category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Inaccuracies in A |
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b. 259
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composition: Op. 2, Variations, complete
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In the main text we add a cautionary category imprint: Editorial revisions |
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b. 259
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composition: Op. 2, Variations, complete
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The version of notation of FE and EE, in which the semiquaver of the top voice was placed after the 3rd quaver of the triplet in the remaining voices, is contrary to the Chopinesque understanding of this combination of rhythms – see bars 45-46. Interestingly, the engraver of FE consistently forced his version of notation (contrary to the basis), whereas the engraver of EE decided to depart from the basis only here. category imprint: Differences between sources issues: EE revisions , FE revisions |
to e3. The natural is not indispensable in this case, yet definitely advisable in the face of the 
before the 4th semiquaver in the bar at the same pitch. It was added by 
) in b. 259; 
(B
1) in b. 261. All the missing accidentals were added by 
