mUltimate Chopin

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b. 104

composition: Op. 2, Variations, complete

in A

 below cresc. in GE (→FE,EE,FESB)
..

The engraver of GE (→FE,EE,FESB) placed the  hairpin under the cresc. indication, which may suggest that it concerns the L.H. part. It must be an arbitrary change, hence in the main text we keep the notation of A.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 104-108

composition: Op. 2, Variations, complete

Notation in AsI & A (→GE→EE,FESB)

Notation in FE
..

The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 104 and 106-108), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note on b. 45-46.

category imprint: Differences between sources

issues: Dotted rhythms and triplets , FE revisions

b. 104

composition: WN 29, Waltz in E minor

..

In the copy of PE4 presented in mUltimate Chopin, the staccato dot over the e crotchet is invisible. We do not consider it a separate version, since it is almost certainly a result of progressive wear and tear of printing materials – in other copies the dot may be visible.

category imprint: Source & stylistic information

b. 104-107

composition: (Op. 4), Sonata in C minor, Mvt I

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we omit the inauthentic R.H. part fingering added by EE in bar 104 and 106-107. See also bar 112 and 115-116 and 118-120 and 123-124.

category imprint: Differences between sources

issues: EE revisions

b. 104

composition: (Op. 4), Sonata in C minor, Mvt I

e1 repeated in A

e1 tied in GE (→FE,EE,IE)

e1 tied, our variant suggestion
..

The consistent complementary rhythm in analogous bar 102 and 66 and 226 suggests that Chopin overlooked the tie to e1. Therefore, in the main text we suggest adding it, in accordance with the version of the editions.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Errors of A