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b. 362-363
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composition: Op. 16, Rondo in E♭ major
category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 362
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composition: Op. 2, Variations, complete
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The dots having been replaced with wedges was an arbitrary decision of the engraver of GE1 – see bars 271-272. The absence of a dot in A over the penultimate quaver probably resulted from ink stoppage. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 362
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing G1 note at the beginning of the bar seems Chopin's mistake, as it is present in analogous figures in bar 360 and 364. One can ponder whether the unwritten note was supposed to be an element of the octave, as in bar 360, or a grace note, as in bar 364; stylistic arguments are not enough to resolve this doubt. However, the latter seems more likely – in A the gap before the 1st note in bar 362 is clearly bigger than the resulting from the density of notation in this part of the page, which could be indicating an oversight of a planned element, e.g. a grace note. category imprint: Editorial revisions |
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b. 362
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composition: (Op. 4), Sonata in C minor, Mvt IV
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It is hard to imagine that the slur in A, taken literally, covering the 5 middle quavers of a uniform arpeggio, was meant to correspond to Chopin's intention. We therefore believe – like the engraver or editor of GE(→FE,EE,IE) – that this is one of many examples of imprecise A slurs. category imprint: Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |
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b. 363-364
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composition: Op. 21, Concerto in F minor, Mvt III
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Four necessary flats lowering g to g category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Inaccuracies in A |
(in different octaves) are missing in 
was added before the bass G