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b. 289
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composition: Op. 21, Concerto in F minor, Mvt I
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In GE1 (→FE) there is none of the three staccato dots written in A (under both bass notes and over the top most note in the R.H.), which is undoubtedly a mistake. EE added the signs in the L.H. (also in the next bar), most probably on the basis of comparison with the corresponding bar of the exposition. GE2 reproduced the notation of A. category imprint: Differences between sources issues: EE revisions , Errors in GE , GE revisions |
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b. 289
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composition: Op. 21, Concerto in F minor, Mvt I
category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 289-290
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composition: Op. 21, Concerto in F minor, Mvt I
..
In A it is unclear whether the end of the slur from bar 290 is written just with aplomb or whether it is supposed to reach the 1st semiquaver in bar 291. In the main text we assume the latter; in turn, not only was the slur ended on the last semiquaver in bar 290 in the editions, but also a next one was started from the 1st note in bar 291, clearly contrary to the notation of A. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 289
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composition: Op. 11, Concerto in E minor, Mvt I
..
The oversight of the slur in GE3 is most probably an accident. It is difficult to accept an intentional deletion of a whole-bar slur (after the next bar, in which the slur was overlooked in GE1) if in analogous bars 305-306 such whole-bar slurs were introduced contrary to the notation of GE1. category imprint: Differences between sources issues: Errors in GE |
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b. 289-290
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composition: Op. 11, Concerto in E minor, Mvt I
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In the initial fragment, Fontana's fingering is unclear. We assume that it is a variant fingering for the 3rd, 4th and 5th semiquavers in bar 289. It is highly unlikely that these indications could be coming from Chopin. category imprint: Differences between sources issues: EE revisions |
