Issues : Authentic corrections of FC
b. 18-22
|
composition: Op. 31, Scherzo in B♭ minor
..
In the main text we give the pedalling entered by Chopin into FC (→GE1). The same applies to analogous b. 150-151 and 601-602, although the difference in the placement of the pedal release mark is noteworthy. GE2 shifted the sign to bar 19, precisely after those analogous bars. GE3 reinstated the original version. category imprint: Differences between sources issues: GE revisions , Authentic corrections of FC |
||||||||
b. 18
|
composition: Op. 30 No. 1, Mazurka in C minor
..
In the main text we give the hairpin entered most probably by Chopin into FC. We consider the top arm to be reliable, corresponding to the range of an analogous mark in bar 26. In GE the mark was led to the c2 quaver ending the bar, which suggests a longer crescendo than the one resulting from the Chopinesque entry. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Authentic corrections of FC |
||||||||
b. 19
|
composition: Op. 30, Mazurka in D♭ major
..
The hairpin was probably added to FC by Chopin. By contrast, in the return of the theme, in analogous bar 89, a respective mark is present only in FE (→EE). category imprint: Differences between sources issues: Authentic corrections of FC |
||||||||
b. 20-22
|
composition: Op. 31, Scherzo in B♭ minor
..
The slur in FC (→GE) was extended by Chopin; the same applies to analog. b. 152-154. The missing slur in EE must be an oversight. category imprint: Differences between sources; Corrections & alterations issues: Errors in EE , Authentic corrections of FC |
||||||||
b. 20
|
composition: Op. 30 No. 4, Mazurka in C# minor
..
The long accent was written into FC by Chopin. Similarly in bar 116. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC |