



b. 292
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composition: Op. 49, Fantaisie in F minor
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In the main text we add cautionary flats to e category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 293
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composition: Op. 39, Scherzo in C♯ minor
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In GC, the 3rd quaver of the L.H. sounds as b category imprint: Differences between sources issues: Errors of GC , Alterations in GC |
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b. 293
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composition: Op. 21, Concerto in F minor, Mvt I
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In the main text we add a cautionary category imprint: Editorial revisions |
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b. 293
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composition: Op. 21, Concerto in F minor, Mvt I
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When interpreted literally, the slur of A runs from the 3rd to the 14th demisemiquaver. The patent inaccuracy did not mislead the engraver of GE (→FE→EE), who embraced the whole group with the slur. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 293-294
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composition: Op. 21, Concerto in F minor, Mvt III
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The range of both slurs is vague in A – the first does not exceed the bar line, whereas in the second one, one can see a slur over the triplet. This is how they were interpreted in GE1 (→FE→EE). However, the slurs in subsequent, identical figures, extended in a few places, prove that Chopin wanted them to reach a crotchet on the 1st or the 3rd beat of bar 294 and analog. each time. We give this interpretation, introduced already in GE2, in the main text. The slurs in the L.H. added in EE and GE2 are an arbitrary revision both in these bars and in the entire section until bar 308 – see the note on bars 297-298. category imprint: Differences between sources issues: Inaccurate slurs in A , GE revisions |