|
b. 462
|
composition: Op. 11, Concerto in E minor, Mvt III
..
The missing slur must be an oversight. The slur was added in EE, yet it encompasses only the semiquaver triplet (its range is not entirely clear – the slur reaches slightly further than a similar slur in the previous bar). In the main text, we add a slur encompassing the entire figure like in the majority of analogous figures. The same slur was added also in GE3. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
||||||||
|
b. 462
|
composition: Op. 31, Scherzo in B♭ minor
..
category imprint: Differences between sources issues: Errors of FC |
||||||||
|
b. 462
|
composition: Op. 31, Scherzo in B♭ minor
..
Just like in b. 360, A (→FC→GE1, →FE→EE1) features a reminding category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Cautionary accidentals , Last key signature sign |
||||||||
|
b. 462
|
composition: Op. 31, Scherzo in B♭ minor
..
The shape of the accent in A suggests that it is a long accent. It is even more evident in similar b. 470. In FC (→GE) both marks were reproduced as common short accents. Taking into account the fact how carefully Chopin reviewed FC, the absence of corrections in those and similar places may mean that Chopin did not always consider the type of accent used to be a priority. We consider the version with a short accent featured in the principal source to be an acceptable variant. category imprint: Differences between sources issues: Long accents , Errors in FE , Inaccuracies in FC |
||||||||
|
b. 463-464
|
composition: Op. 21, Concerto in F minor, Mvt III
..
According to us, the minor differences in the notation between these bars and analogous bars 423-424 do not indicate a different performance. Reducing the number of performance markings when repeating similar fragments is a quite frequent phenomenon in Chopin's music; it does not have to be an inaccuracy – cf. e.g. the note to bars 200-206 in the Bolero, op. 19. However, in the case of the additional crotchet stems for the c1 notes, a reason for their omission (and the pedalling markings) could have been simply haste. Due to this fact, in the main text we suggest holding the bass note, as marked by Chopin for the first time. category imprint: Editorial revisions |
before g
1. The mark, superfluous in this context, was removed in 
