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b. 216
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composition: Op. 2, Variations, complete
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Both dots visible in A over the first two R.H. semiquavers are quite far from the notes and clearly not in the same line (vertically speaking); therefore, one wonders whether they are not accidental spots. However, the dots are clear and regular, while the shifts with respect to the notes they probably concern are similar both in terms of distance and direction. Therefore, we assume that they are staccato dots with which Chopin indicated a slightly different type of articulation – most probably lighter – of the category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Errors in GE |
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b. 217
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composition: Op. 43, Tarantella
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Given g category imprint: Interpretations within context; Differences between sources |
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b. 217
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composition: Op. 43, Tarantella
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Similarly to bars 25, 41 and 201 we add cautionary category imprint: Editorial revisions |
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b. 217
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composition: Op. 39, Scherzo in C♯ minor
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FE1 does not have category imprint: Source & stylistic information issues: Errors in FE |
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b. 217
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composition: Op. 42, Waltz in A♭ major
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The sign added in crayon in FEJ probably means the fingering number, '1'. category imprint: Differences between sources |
semiquavers. In the main text, for the sake of clarity, we suggest adding dots in the entire 1st half of the bar.
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
. 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.
