b. 318
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composition: Op. 2, Variations, complete
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In the main text we reproduce the notation of A, emphasising, as it seems, the syncopated quavers in the top voice. The shifted marks in the editions are gathered around the beginnings of the even triplets, which could not have been Chopin's intention – marks of such range cannot concern the top voice, next to which they were written. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 318
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composition: Op. 49, Fantaisie in F minor
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According to the context, the missing second accent in this bar in A (→GE) is Chopin's mistake, which is additionally supported by the presence of a similar mark in FE (→EE). Due to the above, in the main text we add a short accent, complementing the sequence of such marks entered into A. category imprint: Differences between sources; Editorial revisions issues: Long accents , Errors of A |
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b. 318-319
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composition: Op. 49, Fantaisie in F minor
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In the main text we reproduce the unquestionable A slurs (→GE). The shorter FE slurs resulted from the inaccuracy of the copyist in [FC] or of the engraver (or both). category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 319-320
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composition: Op. 21, Concerto in F minor, Mvt I
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Same as in analogous bars 169-170, in A (→GE) there are no flats restoring a at the beginning of the 2nd half of each bar. The mistake was corrected in FE (→EE), probably at Chopin's request. category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors in GE , Errors of A , Authentic corrections of FE |
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b. 319
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composition: Op. 21, Concerto in F minor, Mvt III
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The cautionary flat before d3 was added in GE (→FE→EE). It may be a revision; however, it is worth observing that four bars later, a corresponding sign in an analogous figure is written already in A. category imprint: Differences between sources issues: GE revisions , Cautionary accidentals |