b. 148-152
|
composition: Op. 19, Bolero category imprint: Editorial revisions |
||||||||
b. 150
|
composition: Op. 19, Bolero
..
The version of FE (→EE1) with c2 in the ending of the trill is most probably erroneous. It is indicated by visible traces of removal of a before this note in FE and GE – c2 does not require any sign in this case, hence the was most probably printed by mistake, instead of , natural in this context. In this situation, removal of this sign in FE may be considered a result of either ordering of the notation of accidentals by the reviser or of Chopin's incompletely implemented proofreading, aiming at restoring . Therefore, in the main text we give the version of GE, in which the was replaced with a , perhaps by the composer himself. A double sharp was added also in EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Errors in EE |
||||||||
b. 154-155
|
composition: Op. 19, Bolero
..
 
category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEO |
||||||||
b. 157
|
composition: Op. 19, Bolero
..
We place the semiquaver ending the bar over the last note of the triplet of the accompaniment, in accordance with the rule to which Chopin adhered his entire life. In FE (→GE→EE), the semiquaver is placed after the 3rd note of the triplet, most probably due to the unfamiliarity with the Chopinesque habit – the Bolero is the first (and only) piece by Chopin issued by this French publisher. Similarly, in bar 163. category imprint: Interpretations within context; Editorial revisions issues: Inaccuracies in FE |
||||||||
b. 160
|
composition: Op. 19, Bolero
..
We adopt a Chopinesque fingering written in pencil in FES to the main text. The last two digits are also in FEO. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEO |