Issues : Dotted or even rhythm
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b. 218
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composition: Op. 44, Polonaise in F♯ minor
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In addition to the much more serious change of pitch – see the preceding note – Chopin also changed here the rhythm of the 1st beat of the bar from category imprint: Differences between sources |
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b. 220-242
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composition: Op. 44, Polonaise in F♯ minor
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The final version and AImaz differ in the use of dotted rhythms ( category imprint: Corrections & alterations; Source & stylistic information issues: Dotted or even rhythm |
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b. 222
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composition: Op. 11, Concerto in E minor, Mvt I
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The version of GE is probably an authentic original version, corrected by Chopin in FE (→EE) during last retouches. It is indicated by the layout of notes in FE, corresponding to the rhythm of GE and not FE, which may mean that the extending dot of c category imprint: Differences between sources; Corrections & alterations |
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b. 234
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composition: Op. 44, Polonaise in F♯ minor
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Chopin added here dotted rhythm while proofreading FE1. The quavers in GE may be the initial version of this and previous, analogous bars (b. 171, 175 and 228), overlooked by Chopin at the time of performing corrections. Two quavers occurring in this passage in AImaz corroborate this hypothesis. category imprint: Differences between sources |
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b. 242-244
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composition: Op. 2, Variations, complete
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In AsI the rhythm on the 2nd quaver in bars 242 and 244 – two semiquavers – in the piano reduction is compliant with the parts of the individual instruments. In A (→GE→FE,EE,FESB) Chopin replaced the semiquavers with dotted rhythms; however, he left the orchestral part unchanged. The change is undoubtedly final. category imprint: Differences between sources; Corrections & alterations issues: Dotted or even rhythm |
to 2 quavers.
or similarly in twice as big rhythmic values). In two places the dotted rhythm was eventually replaced with even values – in b. 220 and 227. The opposite occurred five times – in b. 231, 234-235, 241 (the 2nd and 3rd beats) and 242 (the 1st beat).
2 and the semiquaver beam next to d
