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b. 192
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The crossings-out visible in AI allow us to interpret the initial version of the ending: category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 192-207
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composition: Op. 2, Variations, complete
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In AsI these bars are almost devoid of performance indications, on which we do not comment further on. The only markings are the two slurs over the semiquaver triplets in b. 204, which are not strictly performance indications; rather, they are part of the triplet markings. The solo part is also devoid of markings in Af. category imprint: Differences between sources |
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b. 192
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composition: Op. 2, Variations, complete
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In the second half of the bar, AsI has the original, simplest variant of this motif, the same as in bar 176 of the final version. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
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b. 192
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composition: Op. 2, Variations, complete
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As the last demisemiquaver, FE erroneously has the octave a-a1. category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 192-193
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composition: Op. 2, Variations, complete
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As in bars 176 and 180, GE (→FE,EE) extended the slur only to the end of the bar, probably in the belief that the notation A was inaccurate. It is difficult to say what caused the subsequent extension of the slur in FESB – inaccuracy or perhaps an analogy with bars 196-197, in which the slur has the correct range in all editions, consistent with A. category imprint: Differences between sources issues: Inaccuracies in GE , Revisions in FESB |
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in 