|
b. 568-572
|
composition: Op. 31, Scherzo in B♭ minor
..
According to us, the missing L.H. arpeggios in b. 568, 570 and 572 are not an accident, hence in the main text we preserve this version. However, since Chopin would sometimes overlook signs in this entire section (cf., e.g. b. 557 as well as 562 and 564), we suggest an arpeggio in b. 568 as an alternative version. The version of GE2 (→GE3) with arpeggios in all the discussed bars may be applied only in accordance with the R.H. arpeggios. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
||||||||
|
b. 569
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The additional fingering in EE only repeats the scheme indicated by Chopin in the 1st half of the bar. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 569
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In this bar, there is no musical reason to release pedal earlier than in the previous bars. Therefore, the notation of FE (→EE) is inaccurate, most probably due to lack of space under the octave in bar 570 in [A], which forced the placement of the category imprint: Differences between sources; Editorial revisions issues: GE revisions |
||||||||
|
b. 570
|
composition: Op. 11, Concerto in E minor, Mvt I
..
The additional category imprint: Differences between sources issues: Errors in GE , Partial corrections |
||||||||
|
b. 570-571
|
composition: Op. 11, Concerto in E minor, Mvt I
..
Fontana's fingering is identical to the one indicated by Chopin in FED; it is just more accurately written out. In the main text, we include only the undoubtedly authentic entry of the composer. category imprint: issues: Annotations in teaching copies , EE revisions , Annotations in FED |
on 3rd beat in 
mark still at the end of bar 569 and, consequently, a respective shift of the 
on 2nd beat in 
