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b. 289
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we give the slur after a comparison with analogous b. 30, 56 and 106. category imprint: Editorial revisions |
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b. 289-293
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composition: Op. 44, Polonaise in F♯ minor
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The trills in b. 289 and 293 are written down in GE without a wavy line after the category imprint: Differences between sources |
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b. 289
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composition: Op. 2, Variations, complete
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We include the changes, undoubtedly Chopinesque, introduced by FE1 (→FE2), in the main text as the latest authentic version. See also both notes in the next bar. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Errors in FE , Omissions to cancel alteration , Authentic corrections of FE |
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b. 289-292
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Chopin entered into A an unnecessary category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Inaccuracies in A |
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b. 290
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composition: Op. 21, Concerto in F minor, Mvt I
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One can see a Chopin proofreading in the well-sounding version of GE (→FE→EE). However, an oversight of the engraver of GE1 also cannot be excluded; the engraver could have been influenced by the notation of the previous bar, including this type of coincidence of the voices at the beginning of the 2nd, 3rd and 4th group of semiquavers. Due to this reason, in the main text we give the version of A. However, the version of the editions, perhaps the latest authentic one, must be considered an equal variant. category imprint: Differences between sources issues: Errors in GE , Authentic corrections of GE |
in 
in 
to e2 in the 2nd L.H. chord in bar 289, and omitted this accidental to e in the R.H. in bar 292. Both defects were corrected in 
