|
b. 260
|
composition: Op. 2, Variations, complete
..
In there is no category imprint: Interpretations within context; Differences between sources issues: Last key signature sign |
||||||||||
|
b. 260-261
|
composition: Op. 49, Fantaisie in F minor
..
The category imprint: Differences between sources |
||||||||||
|
b. 260-261
|
composition: Op. 49, Fantaisie in F minor
..
The absence of slurs in FE (→EE1) probably means that Chopin added them to A after [FC] had been finished. In EE2 the slurs were added after GE1. category imprint: Differences between sources issues: EE revisions |
||||||||||
|
b. 260
|
composition: Op. 49, Fantaisie in F minor
..
Initially, the 1st L.H. quaver in A contained only the top note of the octave, F. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Bass register changes |
||||||||||
|
b. 261
|
composition: Op. 42, Waltz in A♭ major
..
The staccato dot written by Chopin in FEG may be ambiguous: it is not known whether it concerns the octave in the R.H. in bar 261 or the octave in the L.H. in the great stave right above it, in bar 256. It may be the reason explaining why the sign was not included in GE1 (→GE2→GE3). The sign included in EE is also not entirely clear – in spite of the fact that it resembles a wedge, it has a dot in its structure. Therefore, it is hard to conclude what was written in Chopin base text to EE; hence to the main text we adopt a staccato dot, written by Chopin's hand in FEG. category imprint: Graphic ambiguousness; Differences between sources issues: Authentic corrections of GE , Wedges , Authentic corrections of EE |
raising g
to g. This patent oversight may be considered a confirmation of Chopin's confusion as to the validity of the key signature accidentals – cf. bar 255, in which a similar mistake in the same chord remained unnoticed in 
in 
