b. 256
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composition: Op. 2, Variations, complete
..
In the main text we add a cautionary over the trill. In spite of the fact that Chopin considered g notes in a diminished tetrad (on which the 2nd half of the previous bar is based) to be obvious (he did not put naturals to them), in this case he almost certainly did not mean g, which, coupled with an F major chord, would give an impression of temporarily departing from the key of B minor. Taking into account the fact that this key was introduced as a contrast and variety with respect to the previous variations, it is impossible that Chopin would have liked to relativise the tonal awareness. category imprint: Editorial revisions |
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b. 256
|
composition: Op. 2, Variations, complete
..
In the entire passage Chopin did not insert any accidentals except the naturals to the 1st and 3rd notes (e and a). The necessity to raise subsequent a to a is beyond dispute; however, the use of e1, e2 and e3 would be harmonically and pianistically possible. Nevertheless, the majority of the arguments support the use of e1, e2 and e3:
As far as the missing naturals to a1 and a2 are concerned, in GE1 (→FE1,GE2→FESB) it was only the one to a2 that was added, which was supplemented by EE and GE3. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of GE , Inaccuracies in A |
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b. 256
|
composition: Op. 2, Variations, complete
..
In the manuscripts there are no accidentals in the second triplet (on the 3rd beat of the bar). In the main text we include both added flats – perhaps by Chopin in GE (→FE,EE) – although it is only the restoring a1 that is indispensable. Incidentally, also in the previous triplet, an octave higher, the to g2 present in all sources is also of a cautionary nature. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Authentic corrections of GE , Last key signature sign |
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b. 256
|
composition: Op. 2, Variations, complete
..
In the main text we reproduce the clearly written slurs of A, although it is uncertain whether by differentiating the range of these slurs Chopin really wanted to suggest a detail of articulation. Both remaining, unified versions of slurring can be regarded as equivalent variants. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 257
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composition: Op. 43, Tarantella
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We add cautionary before c2 in RH. A similar addition was made in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |