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b. 607
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composition: Op. 11, Concerto in E minor, Mvt I
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Bars 607 and 609 are another example of bars – see bars 601-603 – of FE that probably represent the original notation; in the majority of similar places, Chopin replaced that notation with the one used by GE and EE in bar 607. GE adopted that notation also in bar 609, whereas in EE, its own notation from bars 601-603 was repeated in that bar. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 608-612
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composition: Op. 39, Scherzo in C♯ minor
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The EE pedalling, which is not confirmed in the remaining sources, nor in the corresponding bars, may raise some doubts regarding its authenticity. We propose to add pedal marks in bars 608 and 612 analogous to bars 576 and 580, which we can find in FE. The fact that in GC bars 605-616 are marked as the repetition of bars 573-584 suggests that Chopin did not intend any differences in these parts. category imprint: Differences between sources; Editorial revisions |
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b. 608
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composition: Op. 39, Scherzo in C♯ minor
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We omit the unjustified category imprint: Editorial revisions |
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b. 608
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composition: Op. 11, Concerto in E minor, Mvt I category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions , Rhythmic errors |
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b. 609-616
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composition: Op. 39, Scherzo in C♯ minor
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In the main text we present the GC slurring as the most precise one. Both EE and FE most probably copy the earlier stages of slurring these bars. The GE slur represents the literal reading of slightly imprecise notation of GC at the transition to a new line (bars 580-581) category imprint: Differences between sources |
before d
at the beginning of the bar.
