b. 52-60
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composition: Op. 16, Rondo in E♭ major
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In GE, all wedges in bars 52-53 and 56-60 were reproduced as staccato dots (one mark was overlooked – see bar 57). Such an arbitrary decision (inaccuracy?) frequently appears in first editions of Chopin's pieces – cf. e.g. the Sonata in B Minor, Op. 35, 2nd mov., bars 2-4. In the main text, we preserve the undoubtedly authentic notation of FE (→EE). category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Wedges |
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b. 55
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composition: Op. 16, Rondo in E♭ major
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We include the Chopinesque fingering in the main text, written in pencil to FEJ. category imprint: Differences between sources |
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b. 55
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composition: Op. 16, Rondo in E♭ major
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The missing staccato mark over c4 is probably an oversight of the engraver of GE. category imprint: Differences between sources issues: Errors in GE |
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b. 55
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composition: Op. 16, Rondo in E♭ major
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A wedge instead of a staccato dot over the bass f is probably an inaccuracy of FE (→EE), since the vast majority of analogous places include a dot (cf. bars 63, 79, 231, 363, 372). Other bass notes in this section of the Rondo are also provided with dots. GE include a dot, yet it is a result of an arbitrary, routine change of all wedges to dots. There is a similar situation in bar 223. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 55
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composition: Op. 16, Rondo in E♭ major
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We add pedalling, overlooked probably by the engraver of FE or Chopin in [A]. The need for marks in this place seems to be obvious due to the harmonic change in the middle of the bar. There is a similar situation in bar 63. category imprint: Editorial revisions issues: Errors in FE , Errors in EE , Errors in GE |