|
b. 42
|
composition: Op. 26 No 1, Polonaise in C♯ minor
..
In the main text we keep the beginning of the hairpins in accordance with Chopin notation in A. In all editions the hairpins start already under the 1st note of this bar. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
||||||||||
|
b. 43
|
composition: Op. 26 No 1, Polonaise in C♯ minor
..
A features a g category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
||||||||||
|
b. 43
|
composition: Op. 26 No 1, Polonaise in C♯ minor
..
In GE2 (→GE3→GE4→GE5) the reviser combined all quavers in the L.H. with one beam, same as in the previous bars. category imprint: Differences between sources issues: GE revisions |
||||||||||
|
b. 44
|
composition: Op. 26 No 1, Polonaise in C♯ minor
..
In A Chopin undoubtedly wrote a staccato dot over the 1st quaver in the R.H. The sign was most probably overlooked by the engravers of FE and by Chopin in the proofreading. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
||||||||||
|
b. 44
|
composition: Op. 26 No 1, Polonaise in C♯ minor
..
The undoubtedly long accent, written by Chopin in A, was overlooked by the engraver of FE. In GE2 (→GE3→GE4→GE5) a short accent was added, most probably after analogous notation in bar 76. category imprint: Differences between sources issues: Errors in FE , Errors in EE , Errors in GE |
-a
