b. 19
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composition: Op. 22, Andante spianato
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The change of the wedge to a dot is a manifestation of a sui generis aversion of the engravers of GE to wedges, which were replaced with dots or omitted on a number of occasions (e.g. in b. 52 and in many places in the Polonaise). category imprint: Differences between sources issues: GE revisions |
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b. 20
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composition: Op. 22, Andante spianato category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 20
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composition: Op. 22, Andante spianato
category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 27
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composition: Op. 22, Andante spianato
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The second of the Chopinesque fingering digits in FED is written between the 4th and 5th semiquavers, which results in two possibilities of interpretation. According to us, the use of the 2nd finger on the topmost note of this figure is more likely, which is confirmed by the authentic fingering of the Prelude in G Major, Op. 28 No. 3, b. 1 and the Etude in C Minor, Op. 10 No. 12, b. 9-10. Due to the above reason, in the main text we give that interpretation. category imprint: Graphic ambiguousness; Differences between sources |
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b. 27
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composition: Op. 22, Andante spianato
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This is the first out of two places in which the graphical retouches in the latest impression of GE1, marked in our system as GE1a, contributed to a rhythmic mistake: the quaver flag next to g2 was overlooked. GE2 (→GE3) contains the correct text. category imprint: Interpretations within context; Differences between sources |