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b. 532
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composition: Op. 11, Concerto in E minor, Mvt I
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We preserve the original position of the staccato indication. It may mark a gradual change of articulation from legato to staccato during the chromatic sequence. category imprint: Source & stylistic information issues: Centrally placed marks |
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b. 532
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composition: Op. 11, Concerto in E minor, Mvt I
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In EE, omission of the cautionary category imprint: Differences between sources issues: EE revisions , Cautionary accidentals , Last key signature sign |
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b. 532-533
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composition: Op. 31, Scherzo in B♭ minor
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The missing slur in FC must be an oversight, corrected in GE. The shorter slur of FE (→EE) is probably also a mistake. category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions , Errors of FC |
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b. 533
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composition: Op. 39, Scherzo in C♯ minor
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The c category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error |
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b. 533
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composition: Op. 11, Concerto in E minor, Mvt I
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In the source version, we encounter evident, awkward in this context, parallel e-e1 and g-g1 octaves. A comparison with analogous bar 178 suggests – in the absence of arguments for differentiating these bars – a possibility of an erroneous swap of notes by the engraver of FE. Such mistakes can be found in first editions of Chopin's pieces, e.g. in the Prelude in B category imprint: Editorial revisions issues: Errors in FE , Omitted correction of an analogous place |
before f
2 may have been intentional – even necessary accidentals hardly fit into the densely packed notes.
Minor, Op. 28 No. 16, bar 2 (in GE). Moreover, it cannot be excluded that it is the original version of that place, corrected in bar 178 and inadvertently left here. This possibility is indicated by the melodic shape of this bar, analogous to the previous figure – using a recent scheme in an accompanying figure is a natural starting point in the composing process.