b. 328
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composition: Op. 2, Variations, complete
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As was the case with the 5th triplet in bar 325, here the 3rd triplet is presented in AsI in its initial form. In both places Chopin eventually opted for a more regular form of the figuration. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 329
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composition: Op. 21, Concerto in F minor, Mvt III
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There is no before the 3rd third in A (→GE→FE→EE1→EE2). Chopin's oversight is proved by a present both in the cello part in Morch and analogous bar 5. The sign was added in EE3, probably on the basis of the indicated analogy. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors of A |
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b. 329
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composition: Op. 21, Concerto in F minor, Mvt I
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According to us, the indication is to be interpreted as valid already from the beginning of the bar. It is one of examples of the manner of introducing indications within the scope of their validity, used sometimes by Chopin, particularly in his earlier works. In GE (→FE→EE) was most probably linked with the entrance of the L.H. category imprint: Differences between sources issues: Inaccuracies in GE , Centrally placed marks , Inaccuracies in A |
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b. 329
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composition: Op. 21, Concerto in F minor, Mvt III
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The sign may be a mistake of the engraver of FE (→EE). However, Chopin's proofreading cannot be entirely excluded: it may be that the composer wanted to prevent the next fragment from being performed without pedal or, which is more likely, he was thinking about a short pedal encompassing the octave leap of the top voice in the R.H. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE , No pedal release mark |
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b. 329-330
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composition: Op. 21, Concerto in F minor, Mvt III
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The tie of f1 in EE3 was most probably added on the basis of analogy with bars 5-6; EE features such a version in these bars. category imprint: Differences between sources issues: EE revisions |