Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main


b. 55-59

composition: Op. 29, Impromptu in A♭ major

 
 
 
..

The slurs in A (→GE) in bars 55-59 begin from the 2nd crotchet in the R.H. and end at the end of the bar. In FE and EE the slurs comprise the entire bars of the L.H. – perhaps it is a residue of the original notation or it stems from imprecise slurs in the base text. FE is lacking the slur in bar 59, which is certainly an oversight.

category imprint: Differences between sources

b. 55-59

composition: Op. 29, Impromptu in A♭ major

 
 
 
..

Lack of the staccato dot in bar 59 in EE is certainly an oversight. The notation in FE is, however, consequent: in the entire fragment comprising bars 51-75 of this edition there is not a single dot. 

category imprint: Differences between sources

b. 56-57

composition: Op. 29, Impromptu in A♭ major

 
 
 
 
..

The sources differ in the range of the diminuendo hairpins and their positioning. A and FE are compatible in this aspect, as the hairpins include the 2nd half of bar 56 and the entire bar 57. In GE their beginning was slightly shortened, yet in EE both the beginning and the ending of the hairpins was shortened, reaching only the middle of bar 57. In A, FE and EE the hairpins were put over the great stave, while in the other sources they were placed between the pentagrams.

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 57

composition: Op. 29, Impromptu in A♭ major

..

The illogical and erroneous notation of the last third in A ‒ 2 voices, in the upper one a crotchet, in the lower one a quaver ‒ is probably a result of a carelessly introduced correction.
The note gat the beginning of the bar was originally a doubly dotted minim, while the quaver a1 would complete the rhythm of the lower voice. It can be assumed that Chopin was ending the notation of the upper c2, as his attention was drawn by the issue of the L.H. which overlapped the g1 note, which is held during almost the entire bar. He decided to shorten it and as a consequence he forgot to finish the last quaver. 

category imprint: Interpretations within context; Corrections & alterations

issues: Rhythmic errors

b. 58

composition: Op. 29, Impromptu in A♭ major

 
 
..

In FE the clearly long accent in A (→GE) was recreated as a short one.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents