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b. 281
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composition: (Op. 4), Sonata in C minor, Mvt IV
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It is difficult to determine whether the addition of the fingering digit in EE influenced the omission of the wedge, or whether the wedge was mistakenly read as the digit 1, meaning finger 2. It is also possible that the wedge was overlooked and the digit was added independently, along with the other digits in the previous two bars. category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 282-284
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composition: Op. 39, Scherzo in C♯ minor
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In bars 282 and 284 we add cautionary category imprint: Editorial revisions; Source & stylistic information issues: Cautionary accidentals |
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b. 282-283
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composition: Op. 39, Scherzo in C♯ minor
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In FE1 the octave sign ends as late as bar 283. The error was corrected in FEJ and FES, and also in FE2. category imprint: Differences between sources issues: Annotations in teaching copies , Errors in FE , Annotations in FES , Annotations in FEJ |
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b. 282
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composition: Op. 42, Waltz in A♭ major
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The version of GE2 (→GE3) is most probably revised – c3 on the 4th quaver was removed in order to homogenise the bar with the previous one. The version could have been intended by Chopin if we were to admit that the third in this place is an error of the engraver and that Chopin did not pay attention to it neither in FEG nor in the proofreading of FE and base text to EE and the pupils' copies. category imprint: Differences between sources issues: GE revisions |
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b. 282-283
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composition: Op. 21, Concerto in F minor, Mvt I
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The well thought out moment of division of the slur was very carefully marked in A (there are visible traces of a correction). In spite of this, in GE1 (→FE→EE) the slurs were adjusted to bars. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Errors in GE , GE revisions |
before d
3 and d
