|
b. 330
|
composition: Op. 2, Variations, complete
..
In GE3 two Terzverschreibung mistakes were committed in this bar – g1 instead of e1 on the 2nd semiquaver in the bar, and C instead of E on the 2nd L.H. quaver. category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Terzverschreibung error |
||||||||
|
b. 330
|
composition: Op. 2, Variations, complete
..
According to us, the version of the editions resulted from inattention of the engraver of GE1, who did not notice the change of dynamic indications at the end of the bar. The crescendo in A emphasises the dissonant chord, introducing E major as a new key, constituting the starting point for further modulation. The accent in AsI confirms that from the very beginning Chopin wanted to underline the chord on the 6th quaver in the bar. category imprint: Differences between sources issues: Errors in GE |
||||||||
|
b. 330
|
composition: Op. 49, Fantaisie in F minor
..
In all editions the dashes marking the range of dim. were led farther than the ones in A (by Chopin). In the case of FE (→EE) the difference is marginal, but in GE the range of diminuendo was extended to the end of the bar. In this context it is of no practical relevance, yet it reveals a certain tendency of the engraver of GE – cf. bars 306-310. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE |
||||||||
|
b. 331
|
composition: Op. 21, Concerto in F minor, Mvt I
..
In the main text we add a cautionary category imprint: Editorial revisions |
||||||||
|
b. 331-332
|
composition: Op. 21, Concerto in F minor, Mvt III
..
The slur of A, although placed under correct notes, undoubtedly concerns the crotchets in the top voice; we reproduce it in this way in the main text. In GE (→FE) it was moved under the minims in the bottom voice (b category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies |
in 
in 
before a
.
