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b. 332
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composition: Op. 49, Fantaisie in F minor
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Not being certain whether the category imprint: Differences between sources issues: FE revisions , No pedal release mark |
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b. 332
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Starting from the 4th quaver, Chopin omitted in A – in his typical way – all naturals to the e and a notes, four in the R.H. part and one in the L.H. part. In GE (→EE,IE) only the first 4 were added, while the correct text is to be found only in FE. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE , Errors repeated in IE |
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b. 332
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we add a slur after analogous bar 328. category imprint: Editorial revisions |
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b. 332
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text, we do not include the inauthentic R.H. fingering added by EE. category imprint: Differences between sources issues: EE revisions |
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b. 333
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composition: Op. 39, Scherzo in C♯ minor
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In FE there is no category imprint: Differences between sources |
in 
marks at the end of pieces are quite frequent in Chopin's works (cf. the Prelude in A, Op. 28 No. 7, 
augmenting b
to b. This is obvious inaccurracy in Chopin's notation, as when he wrote this bar in [A2] he was convinced that the change of key signatures had already taken place.