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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 |
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b. 305-306
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composition: Op. 49, Fantaisie in F minor
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In A there is no slur over the final fragment of this theme, from bar 306, opening a new line. It must be Chopin's oversight, hence in the main text we include the respective fragment of the FE slur (→EE) as its complement. According to GE, the ending of the A slur in bar 305 suggested that it should be continued, and therefore it was led to the 1st note in bar 306. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Errors of A , Uncertain slur continuation |
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b. 305
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composition: (Op. 4), Sonata in C minor, Mvt IV
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When interpreted literally, the A slur encompasses more or less the notes ranging from F1 to c; it is undoubtedly inaccurate in this form. In this situation it seems natural to lead it to the end of the bar, yet in the main text we include the interpretation adopted by GE (→FE,EE,IE), in which the slur starts from the 2nd quaver, as Chopin clearly wrote it in a similar context in bar 293 and in the entire group of similar figures in bar 154, 162-163, 166-167, 170-171. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |
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