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Issues : Errors in EE
b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In front of the 2nd semiquaver in each of these bars, there are no accidentals in the sources except for naturals added in GE2 (→GE3), which cannot come from Chopin. Therefore, it seems that the top note is supposed to be a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Last key signature sign , Errors of FC |
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b. 7
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composition: Op. 26 No 1, Polonaise in C♯ minor
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Chopin added a crotchet stem in the L.H. to the g category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE , Omitted correction of an analogous place |
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b. 7-8
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composition: Op. 25 No 8, Etude in D♭ major
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In A, FE and EE1 there is no cancellation of a few previously raised notes in chromatic passages:
The remaining editions introduced additions to these patent oversights (some of all): category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of A |
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b. 7-8
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composition: Op. 22, Polonaise
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The missing category imprint: Differences between sources issues: Errors in EE , GE revisions |
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b. 7-9
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composition: Op. 28 No. 3, Prelude in G major
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Nothing indicates that the fingering of EE could be authentic. What is more, a mistake was most probably committed in b. 8 – in the middle of the bar, the b-a notes should be, apparently, played with the fingers 2-1, as they were in the previous bar, in an analogous place. In the copied fingering, it is, however, impossible to reach d at the beginning of the 4th group without crossing the fingers, which should have been marked. category imprint: Differences between sources issues: EE revisions , Errors in EE |