Issues : Dotted or even rhythm
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b. 61
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composition: Op. 11, Concerto in E minor, Mvt III
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We may doubt whether the rhythmic variant occurring in FE (→EE,GE1→GE2), almost unnoticeable in relation to analogous bars 60, 288 and 289, was intended by Chopin. Similar types of imprecise notation took place in Chopin’s works, cf., e.g. bar 377. Therefore, we cannot rule out that it is the unified, concurrent with the remaining bars version in GE3 that corresponds to the composer's intent. category imprint: Differences between sources issues: GE revisions , Dotted or even rhythm |
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b. 67
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composition: Op. 45, Prelude in C♯ minor
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The rhythm of FE (→EE) is probably earlier or was even left inadvertently at the time of possible corrections in [A1]. Due to that, we give priority to the version of GE (also introduced into EE2). A similar difference also occurs in bar 71. category imprint: Differences between sources issues: Main-line changes , Dotted or even rhythm |
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b. 68
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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Same as in bar 14, the authenticity of the dotted rhythm in GE is questionable. category imprint: Differences between sources issues: GE revisions , Dotted or even rhythm |
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b. 70
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composition: Op. 63 No. 1, Mazurka in B major
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One of a few such differences between earlier AI and the published version – cf. in this section of the Mazurka bars 72, 74 and 81. category imprint: Differences between sources; Corrections & alterations issues: Dotted or even rhythm |
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b. 71
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composition: Op. 45, Prelude in C♯ minor category imprint: Differences between sources issues: Dotted or even rhythm |
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