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b. 305
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composition: Op. 31, Scherzo in B♭ minor
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Just like two bars earlier, in the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 305
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composition: Op. 44, Polonaise in F♯ minor
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The version of FE most probably resulted from an oversight of the copyist or of the engraver. The sharp was added in EE, probably after the version of b. 46. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 305
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composition: Op. 44, Polonaise in F♯ minor
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Unlike in previous analogous bars, in this case the wavy lines following the category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE |
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b. 305
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composition: Op. 2, Variations, complete
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The rhythm of A (→GE→EE,FESB) is almost certainly erroneous, which is evidenced by the long accent, certainly referring to the note held slightly longer (with a dot). Chopin corrected his mistake while proofreading FE1 (→FE2); the correct version is also in AsI. category imprint: Differences between sources issues: Rhythmic errors , Errors of A , Authentic corrections of FE |
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b. 305
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composition: Op. 2, Variations, complete
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In the main text we keep the undoubtedly authentic and intentional notation of A, in which it is only the bass notes that are provided with staccato marks. The authenticity of the decision to provide all semiquavers with such marks is uncertain – according to us, it could have resulted from the engraver of GE1 impulsively considering the notation of A to be incomplete. The fact that Chopin wanted the bass notes to be performed differently than the chords is confirmed by the initial version of AsI. category imprint: Differences between sources issues: GE revisions |
before e1. The mark was also added in 
-B in 
in 
in 
in 
