Issues : Dotted or even rhythm
b. 246
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composition: Op. 2, Variations, complete
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As was the case with a few other places in this tutti, the semiquavers in AsI are the initial version, present in this manuscript in the orchestral part too. Cf. bars 242 and 244 and 247-251. category imprint: Differences between sources; Corrections & alterations issues: Dotted or even rhythm |
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b. 247-251
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composition: Op. 2, Variations, complete
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The rhythm with semiquavers only present in bars 247, 249 and the 1st half of bar 251 was written in AsI twice – as the earliest version (the initial one written in ink) and the latest one (corrections in pencil). While preparing the version for one piano for print, Chopin opted for dotted rhythms, which we give in the main text. category imprint: Corrections & alterations issues: Dotted or even rhythm |
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b. 267
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composition: Op. 2, Variations, complete
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In the version of AsI and A (→GE→FESB) the dot prolonging g1 refers to the quaver and indicates that it should be held to c2 (actually to g1, which must be played again). In the version of FE1 and EE this dot refers to – also or only – the semiquaver, as a result of which the next note must be shortened. It is difficult to say whether the emergence of the other version in FE1 resulted from Chopin's proofreading or from the interpretation of the slightly misleading Chopinesque notation by the engraver or reviser, as in EE. category imprint: Graphic ambiguousness; Differences between sources issues: Authentic corrections of FE , FE revisions , Dotted or even rhythm , Inaccuracies in A |
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b. 377
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composition: Op. 11, Concerto in E minor, Mvt III
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According to us, there is a strong likelihood that the version of the sources is erroneous. It is indicated by the dotted rhythm in the analogous phrase in bar 373 as well as in bars 381, 383 and 385. The analysis of the sources of the orchestral part also suggests a mistake in the notation of the rhythm of the L.H. part – see e.g. MFrorch. category imprint: Editorial revisions issues: Dotted or even rhythm |