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Issues : Authentic corrections of EE
b. 25-26
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composition: Op. 35, Sonata in B♭ minor, Mvt III
category imprint: Interpretations within context; Differences between sources issues: EE inaccuracies , Authentic corrections of EE |
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b. 26-27
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composition: Op. 25 No 1, Etude in A♭ major
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The dynamic hairpins of FE and EE were most probably added by Chopin still in the copies, being base texts for these editions. Thus it is difficult to state whether it is EE with a pair of signs that is later or FE with category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of EE |
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b. 28
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composition: Op. 25 No 1, Etude in A♭ major
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The category imprint: Differences between sources issues: Long accents , Authentic corrections of FE , Authentic corrections of EE |
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b. 28-29
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In all sources there is an accent under G category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of EE |
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b. 35
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The version of EE was introduced – most probably by Chopin – in the base text to this edition. The version with d1 offers a more distinct harmonic progression of the accompaniment, in the version with f1 thanks to the omission of the doubling of the leading note, the sound of the ending of the bar is smoother. It cannot be excluded that Chopin was not entirely sure about each of these versions (Chopin's hesitation in a similar situation can be found in, e.g., the Nocturne in F category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of EE |