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b. 208-211
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composition: Op. 2, Variations, complete
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The addition of markings to the L.H. part seems justified and could be coming from Chopin as such. According to us, however, it does not mean that the dots entered into A should be changed to wedges – the markings added in a proof copy (perhaps by Chopin) were either misinterpreted or the person who added them (perhaps Chopin) used wedges to match the already printed wedges. Therefore, in the main text we include the added markings; however, we keep the differences between them modelled after the authentic markings in the R.H. part and in a certain sense confirmed by the L.H. dots in A in bar 208. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Wedges |
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b. 208
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composition: Op. 2, Variations, complete
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The authenticity of the fingering of GE2 cannot be entirely ruled out; however, a few combinations contrary to the Chopinesque fingering confirmed by other pieces are an argument against this possibility (see bars 55-58). In the case of the digits added in this variation, it is not the digits themselves but the selection of notes that are provided with them that could be questioned – the use of the 1-2 fingering combination on all dyads is as obvious as the use of the 5th finger on the even, top semiquavers, hence it is surprising that they were treated differently. The same objection could be raised in the second place in which the fingering was added – in bar 230. category imprint: Differences between sources issues: GE revisions |
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b. 208-227
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composition: Op. 2, Variations, complete
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In the main text we reproduce the non-standard beaming of A. It was the engraver of GE1 that applied the typical, four-semiquaver beams to make his work easier – half as many elements to be engraved – which was then adopted by the other editions. This applies to the entire Variation IV. category imprint: Differences between sources issues: GE revisions |
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b. 209
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composition: Op. 43, Tarantella
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In EE the first note in RH is notated as a dotted crotchet. In the remaining sources we find here only a quaver. category imprint: Differences between sources issues: EE revisions |
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b. 209
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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FE1 (→FE2) has a c as the bottom note on the 1st crotchet of the bar, which was corrected in FE3 (→FE4) and in the base text to EE. GC (→GE) also features the correct B category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Authentic corrections of FE , Authentic corrections of EE |
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