Issues : Inaccuracies in GE
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b. 2
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In bar 2 in GE1 (FE→EE) the pedal release mark category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 2
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composition: Op. 24 No. 3, Mazurka in A♭ major
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AI has a dotted rhythm on the 1st beat, and no grace note before a crotchet f2 on the 2nd beat. In the main text we give the undoubtedly ultimate version of A (→GE→FE→EE).
In GE1 (→FE→EE) the slur accompanying the grace note begins too early from the quaver a category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE |
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b. 2-4
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Staccato dots at the beginning of bars 2 and 4 consist the most glaring example of German engraver's misrepresenting wedges in GC – the difference between wedges there and dots in neighbouring bars 1, 3 & 5-7 is very distinct. GE did not use any wedges in the whole Sonata. The lack of signs in EE is most probably an oversight. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , Wedges |
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b. 2-3
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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According to us, out of two sources based directly on [A] – GC and FE – it is the copy that may convey a more accurate representation of this place in the autograph, since the text in FE is too tightly packed. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Errors in GE , GE revisions |
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b. 3
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composition: Op. 27 No 2, Nocturne in D♭ major
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We give the extent of Cf. the characteristics of GE. category imprint: Differences between sources issues: Inaccuracies in GE |
in 
is placed under the third crotchet of the bar. Attempts were made in 
1. This imprecision was corrected in 
in 
