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Issues : Authentic post-publication changes and variants
b. 221
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composition: Op. 11, Concerto in E minor, Mvt III
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In FEH, the ties of the d category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 223-224
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composition: Op. 11, Concerto in E minor, Mvt III
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The crossing-out of the tied g category imprint: Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 243-244
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composition: Op. 42, Waltz in A♭ major
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In FED Chopin marked in an abbreviated manner an extension of the figuration with an octave (in pencil). A similar solution can be found in the Etude in F minor, Op. 25 No. 2, bar 67, the Nocturnes in F category imprint: Differences between sources; Source & stylistic information issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants |
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b. 256-257
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composition: Op. 11, Concerto in E minor, Mvt III
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The octave sign added in FEH most probably defines an authentic variant. According to us, it is much more likely that it was meant to move the entire figure of both hands by an octave, and not only of the R.H. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 260
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composition: Op. 2, Variations, complete
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Chopin added the octave bass sequence in the 2nd half of the bar while proofreading FE1. This addition, undoubtedly drawn from FE, was also introduced into EE3. According to us, it is likely that the composer wanted this unquestionable improvement of the version for one piano to apply to the version of the piece with orchestra too (as a complement to the cellos and the double basses). A few years later, also exclusively in the version for one piano, Chopin introduced a change into the first tutti in mov. III of the Concerto in F minor, Op. 21. It is also there that we can assume that the changed text was supposed to concern the orchestral part also in the full version of the piece. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Authentic post-publication changes and variants |