Issues : Abbreviated notation of A
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b. 77-102
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composition: Op. 50 No. 2, Mazurka in A♭ major
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In A1 these bars are marked in an abridged manner with empty bars, first with letters from a to g, which requires b. 61-67 to be repeated, and then with numbers from 1 to 19, which evokes b. 9-27. The double bar line and the change of key signature are written out in b. 84. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 81-82
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composition: Op. 25 No 12, Etude in C minor
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In FC – certainly in accordance with [A] – the 2nd, 3rd and 4th groups of semiquavers in the R.H. are written in an abbreviated manner as repetition of the first. Entire bar 82 is also not written with notes. A similar notation was most probably present in all Stichvorlage manuscripts, which probably caused a number of inaccuracies in reproducing Chopin's intention – cf. the notes on accents, category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 84-87
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composition: Op. 43, Tarantella
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Bars 84-99 in Tarantella are repeated in bars 100-115 and 132-147. To avoid rewriting them three times Chopin in A and then Fontana in FC3 marked them with numbers 1-16 on the first exposition of the part, and for repetitions he left bars without notes only marked with numbers. It does not apply to the first editions, where all three passages are written out with notes. In all annotations regarding A and FC3 in bars 100-115 and 132-147 we present variants corresponding to bars 84-99. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A |
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b. 85-86
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In GC, in bars 85-86, the part of the L.H. is written in an abbreviated manner with •/• signs. This type of notation, frequently used by Chopin, was certainly used also in [A]. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 85-92
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composition: Op. 64 No 1, Waltz in D♭ major
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In A the bars are marked in an abbreviated manner as repetition of bars 13-20. Chopin, as usually, used numerated empty bars, however, he introduced dynamic indications. The engraver of FE did not understand or ignored this, as initially he took into consideration only the signs in three last bars, furthermore with a mistake – see the adjacent note in this bar and in bars 87-92. category imprint: Source & stylistic information issues: Abbreviated notation of A |
hairpins and slurs.
