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b. 276
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composition: Op. 2, Variations, complete
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The missing staccato markings in A must be considered Chopin's inadvertence – the marks are present in all similar situations. The wedges added by GE are most probably inauthentic; however, even if they had been added at Chopin's request, it would have been an ad hoc correction, adjusted to the unifying manner of the engraver of GE1. Due to the above, in the main text we suggest adding marks in accordance with the consistent rule visible in A – wedges only for the bass notes on the main beats of the bar. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Authentic corrections of GE |
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b. 276
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composition: Op. 49, Fantaisie in F minor
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In this bar the pedal markings could have been added to A (→GE) after [FC] had been finished. However, since the markings are fully compliant both in the preceding and following fragments, the absence of pedalling in FE (→EE) could have also resulted from an oversight. category imprint: Differences between sources issues: Errors in FE |
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b. 276
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composition: Op. 49, Fantaisie in F minor
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Unlike the first time (bar 109), in A Chopin provided the 1st crotchet in the bar with staccato dots. The marks were probably added to A after [FC] had been finished, perhaps together with the deletion of the slur reaching the R.H. chord. The missing R.H. dot in GE1 is an oversight, corrected in GE2. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 276-283
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composition: Op. 49, Fantaisie in F minor
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As in bars 109-116, in GE the L.H. part slurs were added, yet this time only under the octave sequences. This arbitrary addition was repeated in EE2 as well. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 276-282
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composition: Op. 49, Fantaisie in F minor
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As in analogous bars 109-115, the category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in GE , Scope of dynamic hairpins , Corrections in A |
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