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Issues : Omitted correction of an analogous place
b. 46-47
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The pedalling of AF (→FE→EE) was deliberate at the time when it was being written – Chopin crossed out the category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Chopin's hesitations , Deletions in A , Omitted correction of an analogous place |
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b. 48
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composition: WN 37, Lento con gran espressione
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The last note of the 1st semiquaver triplet is written in A1 as c In the remaining sources the notation is enharmonically homogeneous, yet also inaccurate – none of the sources includes the category imprint: Differences between sources; Corrections & alterations issues: Omitted correction of an analogous place , Inaccuracies in JC |
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b. 48
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composition: Op. 44, Polonaise in F♯ minor
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The chord with an additional b1 note we encounter in the sources is most probably Chopin's mistake, which is supported by the following arguments:
Taking into account the above, in all five places we give a chord without b1. In EE2 (→EE3) an inverse revision was performed, i.e. all the discussed places include a four-note chord. category imprint: Editorial revisions |
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b. 49
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composition: Op. 28 No. 19, Prelude in E♭ major
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The main text – the 8th g quaver – comes from A (→FC→GE1,→FE→EE). However, the analysis of the corrections visible in A in the final section of the Prelude leads to the conclusion that it may be the uncorrected initial version and that the intended note was a b category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information issues: GE revisions , Omitted correction of an analogous place |
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b. 50-51
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composition: Op. 11, Concerto in E minor, Mvt I
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The shorter slur in Atut (→FE→GE1→GE2) is the original marking. Initially, both slurs in the previous figure also encompassed the groups of three quavers only; however, they were then prolonged by Chopin. The slur in the L.H. in the discussed bars, written last, already encompasses the entire four-note motif. The fact of leaving the slur in the R.H. without extension must be the composer's inadvertence. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Corrections in A , GE revisions , Omitted correction of an analogous place |