Issues : Abbreviated notation of A
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b. 30-32
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composition: Op. 10 No 9, Etude in F minor
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In AI the part of the L.H. in bars 30 and 32 is briefly marked as repetition of bars 29 and 31. Similarly in bars 34-36. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 31
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composition: Op. 10 No 3, Etude in E major
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In AI the bar is briefly marked as a partial repetition of bar 30 – in the part of the L.H. there is only a •/• mark, while in the part of the R.H., which was initially written in the same way, Chopin added the first third a1-c category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Abbreviated notation of A |
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b. 31-38
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composition: Op. 25 No 1, Etude in A♭ major
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From bar 35 to the end of the Etude, Chopin, in both autographs – AI and A – used an abbreviated notation of the repeating figures on a number of occasions (cf., e.g. bars 1-8 and 9-18). Interestingly enough, the notation of AI is more precise, as it includes the differences in the size of the note heads. We consider the notation of A in bars 35 and 36 to be inaccurate in this respect. The abbreviation used in CDP in bar 31 is most probably an arbitrary decision of the copyist. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 31-41
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In the manuscripts – GC (certainly in accordance with [A]) and Amar – wherever in the part of the L.H. the second half of the bar is the same as the first one, Chopin uses a repetition sign (•/• or / only). The sole exception is bar 31 in GC. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 31-38
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In GC bars 31-38 are provided with subsequent r-z letters, used then for an abbreviated notation of bars 47-54. category imprint: Source & stylistic information issues: Abbreviated notation of A |
2 and the entire bottom voice in order to mark the difference.