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b. 200-202

composition: Op. 2, Variations, complete

Semiquavers in AsI

Semiquavers after AsI

Dotted rhythms in A (→GE→FE,EE)

Dotted rhythms after A (→GE→FE,EE)
..

The semiquavers appearing in bars 200 and 202 in AsI are the original version, since dotted rhythms appear both in A and editions, as well as in printed orchestral parts. However, in the orchestra part of AsI, the situation is not so clear. Its notation in bars 200-202 is short – only the part of the first violins and cellos with double basses and "as above" repeated several times, which probably refers to the previous Tutti. In bar 200, the violin part has a dotted rhythm (written incorrectly, perhaps added in a hurry), and the bass part has a semiquaver rhythm.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Main-line changes

b. 201

composition: Op. 43, Tarantella

..

We add  to c in the LH part following EE and GE. Its lack only in this place of the whole phrase would not be justified. Moreover, we look at the correctly written out repetition of this part in b. 217 and c1 in RH.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions

b. 201

composition: Op. 43, Tarantella

 
 
 
 
..

Given g in the previous and next bars, we may assume that also the middle note of the chord in the second half of b. 25 was intended by Chopin to be g and he must have overlooked . However, the g version is no less musically satisfactory, and so, assuming Chopin did not make a mistake, we provide this version for the main text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals

b. 201

composition: Op. 43, Tarantella

..

We add cautionary  before c1 on the second half of the bar. Similar addition was made in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 201-207

composition: Op. 39, Scherzo in C♯ minor

cresc. in GC (→GE)

cresc. in EE

 

cresc. - - - in FE
..

In EE and FE the indication cresc. was placed under the hairpin mark . This is probably the revision introduced by editors, who could fear that the authentic notation (i.e. cresc. within the hairpin) preserved in GC and GE would prove illegible in print. Moreover, in FE the scope of the cresc. is delimited with dashes stretching until the end of bar 207, which seems to be a misunderstanding (cf. bar 211). As our main text we reproduce the authentic notation of GC (→GE), so characteristic of Chopin.

category imprint: Differences between sources; Source & stylistic information

issues: EE revisions , Errors in FE , FE revisions