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b. 135-139
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composition: Op. 2, Variations, complete
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In AsI the alternative L.H. part (harmonic accompaniment) is not written out in these bars – Chopin started writing it only just from b. 140. Due to b. 136-141 having been written down with a repeat sign in AsI, the alternative part is also absent in b. 144-147. category imprint: Differences between sources; Corrections & alterations issues: Incomplete sources |
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b. 135
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composition: Op. 2, Variations, complete
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In the entire Var. II AsI does not contain any performance markings except a metronome tempo. Moreover, there are two options – The shorter tempo/character indication in FE probably comes from Chopin*, who could have marked it in the basis for FE. However, as the issue is uncertain, in the main text we keep the generally synonymous marking of A (→GE→EE,FESB). * Four years after writing this somehow pedagogical remark "ma accuratamente," Chopin could have considered it childish and certainly inappropriate. What is more, the letter in which he describes that it was only thanks to the conductor that "he was not able to play at breakneck speed" his Concerto in E minor in October 1830 allows us to assume that the real addressee of "ma accuratamente" could have been teenage Chopin himself. Therefore, it would be all the more understandable that in 1833 Chopin, conquering Paris as a pianist and composer of five works with orchestra, not to mention Nocturnes, Mazurkas, Etudes or the Trio, decided to remove this indication, evidence of his unbridled youthful temper, although it was impossible to guess its origins – if our assumptions are actually true. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Metronome tempos , Changes of tempo markings |
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b. 136
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composition: Op. 39, Scherzo in C♯ minor
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It is not easy to find out whether the absence of category imprint: Differences between sources |
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b. 136-140
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composition: Op. 42, Waltz in A♭ major
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In FE0 the slur ends on the minim. In the base text to FE1 it was corrected by extending the slur to bar 139 (there is a visible trace of deleting the original slur of FE0). There is no reason to doubt the authenticity of this change, yet in FEG Chopin completed the slurring differently, by adding the second slur in bars 136-140. The latter is also in EE, most probably based on the identical Chopin correction of the base text. Therefore, in the main text we give the version with two slurs, written by Chopin twice. The continuous slur of FE, offering greater flexibility as to the choice of phrasing, may be, however, treated equally. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE |
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b. 136
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composition: Op. 38, Ballade in F major
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The rhythm in FE was most likely constrained by the poor music layout leaving no room for a rest.. category imprint: Differences between sources issues: FE revisions |
= 76 (with pen, most probably earlier) and 
in 
