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Issues : Centrally placed marks
b. 16
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composition: Op. 10 No 2, Etude in A minor
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We do not consider category imprint: Differences between sources issues: Centrally placed marks |
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b. 16
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composition: Op. 11, Concerto in E minor, Mvt I
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The dynamic mark is written in Atut between two chords, so that in the majority of the sources it was assigned to the 3rd beat of the bar. According to us, however, the texture clearly indicates that the new dynamics should be valid already from the 1st chord, which is confirmed by the indications in the orchestral parts. Therefore, the notation of Atut is an example of a manner of placing marks within the range of their validity, sometimes used by Chopin. Due to this reason, in the main text we give category imprint: Interpretations within context; Differences between sources issues: GE revisions , Centrally placed marks |
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b. 19-20
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composition: Op. 10 No 9, Etude in F minor
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The scope of the category imprint: Differences between sources issues: Inaccuracies in FE , Centrally placed marks |
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b. 19
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composition: Op. 25 No 8, Etude in D♭ major
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The type of the sign indicating the local culmination and its exact placement raise some doubts here:
In the main text we suggest a category imprint: Interpretations within context; Differences between sources issues: fz – f , Centrally placed marks |
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b. 21
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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There is no doubt that the placement of the category imprint: Interpretations within context; Editorial revisions issues: Centrally placed marks |