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b. 12-13
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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Same as in bars 2, 5 and 8, in GC the repeating fragments of these bars – parts of both hands in bar 12 and part of the L.H. in bar 13 – are marked in an abbreviated manner with •/• signs. The interpretation of this notation, certainly repeated after [A], is not entirely clear – see bars 11-13. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 12
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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In GC (→GE) and FE1 (→FE2→EE1) there are no naturals raising the 10th quaver to d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Omission of current key accidentals , Authentic corrections of FE , FE revisions , Inaccuracies in GC , Inaccuracies in A |
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b. 12-13
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composition: Op. 64 No 2, Waltz in C♯ minor
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On the available photocopy of A, the slur in bar 12 starts from the 3rd quaver. We shift the beginning one quaver earlier, analogously to bar 10. In FE (→EE,GE1op,GE1no2) the slur starts – undoubtedly erroneously – only in bar 13, however in bar 140, based on the notation of bar 12 in A, the slur of FE begins exactly on the 2nd quaver of the bar, which supports the solution we adopted. In later GE, the starting point of the slur was moved to the beginning of bar 12, most probably by analogy to the notation of bars 140-141 in GE. category imprint: Differences between sources issues: Errors in FE , GE revisions |
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b. 12
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composition: Op. 21, Concerto in F minor, Mvt II
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The two-quaver slur of A is most probably inaccurate (cf. similar figures in, e.g., the previous bars). Therefore, in the main text we give a longer slur, corresponding to the slurring of analogous figures. A similar solution was adopted in GE2. The half-bar slur of the remaining editions is certainly an arbitrary decision of the engraver of GE1. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
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b. 12
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composition: Op. 21, Concerto in F minor, Mvt II
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The slur added in GE1 (→FE→EE), clearly incompatible with the accompaniment's texture, is certainly erroneous, which contributed to it having been omitted by the reviser of GE2, who, above all, would check compliance with A. As far as A is concerned, one of two slurs combining the grace note with the f note seems to be superfluous, however, Chopin could have wanted to show that the grace note concerns both voices on the 3rd beat of the bar. category imprint: Interpretations within context; Differences between sources issues: GE revisions |
1(2), which in this context is a patent oversight. The sign in the R.H. was added in the proofreading of 
was added also in the L.H. A natural in the part of the R.H. is also in 
