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Issues : Inaccuracies in GE
b. 48-49
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composition: Op. 16, Rondo in E♭ major
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In the main text, we adjust the semiquaver beam of the figure at the transition between bars 48-49 to the remaining, analogous figures. It is likely that breaking it into two beams was a simplifying solution of the engraver of FE, applied to avoid beams passing from one great stave to another. Chopin would often use beams going beyond a bar, e.g. in the L.H. part in bars 52-54 and analog. category imprint: Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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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 category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Wedges |
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b. 61-62
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composition: Op. 16, Rondo in E♭ major
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Small differences concerning the range of the category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 73
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composition: Op. 16, Rondo in E♭ major
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Like in the 1st half of the bar, in GE the slur was associated with the top voice only. The interpretation, however, is probably wrong – in FE, three subsequent slurs in bars 72-73 begin from the 2nd note of the respective beat, which can hardly be considered an accident. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 73
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composition: Op. 16, Rondo in E♭ major
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In GE, the slur encompasses the semiquavers of the top voice only. The beginning of the next slur in this bar was distorted in a similar way – see the next note. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |