b. 366
|
composition: Op. 11, Concerto in E minor, Mvt III
..
Fontana's fingering, indicated only next to the notes written on the bottom stave, defines a scheme for the entire passage. In FEH, the same fingering was marked also in the 2nd half of the bar. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
|||||||||
b. 366
|
composition: Op. 2, Variations, complete
..
The absence of an asterisk in GE (→FE) must be of an accidental nature. The engraver of GE1 probably omitted it, since it was difficult to squeeze it in the right place. The reviser of EE was close to guessing Chopin's idea. category imprint: Differences between sources issues: EE revisions , Errors in GE |
|||||||||
b. 367
|
composition: Op. 39, Scherzo in C♯ minor
..
A tempo primo marking visible in GC was not put down by Chopin, however there is no doubt about its authenticity. In GE it was replaced with a conventional marking used in such situations and in the main text we adopt a similar solution. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
|||||||||
b. 367
|
composition: Op. 21, Concerto in F minor, Mvt III
..
Chopin wrote two cautionary signs in A – a before c2 in bar 367 and a before a2 in bar 368. GE (→FE) added also a before c in bar 367, which was then removed or overlooked in EE1 (→EE2) and re-added in EE3. In the main text we also add naturals before g2(3) and a before b in bar 367. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Cautionary accidentals , Authentic corrections of GE |
|||||||||
b. 367-368
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In the main text, we add staccato dots after analogous motifs in bars 363-364 and 39-44. category imprint: Editorial revisions |