b. 247-251
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composition: Op. 2, Variations, complete
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The rhythm with semiquavers only present in bars 247, 249 and the 1st half of bar 251 was written in AsI twice – as the earliest version (the initial one written in ink) and the latest one (corrections in pencil). While preparing the version for one piano for print, Chopin opted for dotted rhythms, which we give in the main text. category imprint: Corrections & alterations issues: Dotted or even rhythm |
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b. 247
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composition: Op. 2, Variations, complete
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In AsI, teh text on the lower staff is written in abbreviated form – only the upper notes of the octaves with the marking con 8va. category imprint: Differences between sources issues: Abbreviated octaves' notation |
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b. 248
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composition: Op. 43, Tarantella
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In GE1 there is no before f2 in RH. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 248-249
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composition: Op. 42, Waltz in A♭ major
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In FE1 the crescendo indication was placed – most probably after the proofreading entry of Chopin – already in bar 238. In the main text we adopt the version of FEG (→GE) and EE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE |
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b. 248-249
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composition: Op. 19, Bolero
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In the main text, we give the fingering written in pencil to FES (with one added digit for more clarity), coming most probably from Chopin. A different fingering, probably coming from Chopin, is in FESf. The poorly legible annotation in FEO may be interpreted in a variety of ways – we suggest these interpretations that lead to a pianistically natural fingering as variants. The fingering in EE comes from the editor and it is inauthentic. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEO , Annotations in FESf |