b. 144
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composition: Op. 2, Variations, complete
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As in b. 136, in the main text we give a sixth, which Chopin introduced instead of a three-note chord while proofreading FE. category imprint: Differences between sources; Corrections & alterations |
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b. 144-147
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composition: Op. 2, Variations, complete
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In AsI these bars are marked as a repetition of b. 136-139 (similarly, b. 148-149 are a repetition of b. 140-141). Admittedly, repeat signs are neither at the beginning of b. 136 nor at the end of b. 143; however, the intended repetition is proven by the fact that b. 142-143 were written directly before b. 150-151. At the same time, the first pair of bars was encompassed with a 1. volta bracket, while the second pair with a 2. volta bracket. category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information |
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b. 144-147
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composition: Op. 2, Variations, complete category imprint: Differences between sources |
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b. 145
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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In A, the slur begins right after the 2nd quaver, so it is possible that it was meant to begin from the crotchet b flat1. Still, the most probable option is that it was intended to embrace the entire final phrase, and this is how it was interpreted in GE (→FE→EE). category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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b. 145
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composition: Op. 38, Ballade in F major
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Hairpins in both GC and FE are inaccurate – a sign written with too much impetus in GC, and a cut short by the line break in FE. category imprint: Differences between sources issues: Inaccuracies in FE |