Issues : Authentic corrections of EE
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b. 41-46
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composition: Op. 42, Waltz in A♭ major
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The lack of pedalling in EE in bars 41-44 is most probably due to an oversight—these bars, which begin a new musical thought, are last on the page, while the preceding fragment is written without pedal markings. The inadvertence could have happened to the engraver of EE or Chopin himself while preparing the Stichvorlage for EE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of EE |
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b. 44-52
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composition: Op. 42, Waltz in A♭ major
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In bars 44 and 52 EE has an e category imprint: Differences between sources; Corrections & alterations |
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b. 45-49
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In the main text we include the cresc. - - indication, added most probably by Chopin in the base text to EE. Similarly in bars 233-237. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of EE |
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b. 45
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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Chopin introduced a double grace note in the base text to EE instead of a single one appearing in the remaining sources. The analogous motifs, ornamented as in the version of EE, are frequently to be found in Chopin's pieces, cf., e.g., Andante spianato from Op. 22, bars 30 and 32 and the Mazurka in G minor, Op. 24 No. 1, bar 62. In the 2nd movement of the Concerto in F minor, Op. 21 Chopin used an identical motif both with a double grace note (bar 32) and with a single one (bar 81). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of EE |
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b. 46
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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Between bars 46 and 47, GC (→GE) and FE1 (→FE2) include another two bars, identical to bars 9-10. It is probably a result of a mistake at the time of performing an abbreviated marking of bar 39 and following with numerals as repetitions of the respective bars of the beginning – Chopin marked 10 bars in this way instead of eight. The composer removed the superfluous bars in the proofreading of FE3 and in the base text to EE, he also deleted them in FESch and two (according to Mikuli) pupil's copies, belonging to Fryderyka Streicher and Marcelina Czartoryska. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Errors of A , Authentic corrections of FE , Authentic corrections of EE , Changed phrase length , Annotations in FESch |
-c1 sixth on the 2nd and 3rd crotchet, similarly in analogous bars 
