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Issues : Terzverschreibung error
b. 3
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composition: Op. 28 No. 22, Prelude in G minor
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The version of GE1 featuring a instead of tied c1 is a patent mistake of the engraver, one of a few in this place. category imprint: Differences between sources issues: Errors in GE , Terzverschreibung error , GE revisions |
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b. 4
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composition: Op. 10 No 11, Etude in E♭ major
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The origin of the additional e category imprint: Differences between sources issues: Errors in FE , Errors resulting from corrections , Terzverschreibung error , Authentic corrections of FE |
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b. 4
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composition: Op. 2, Variations, complete
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We consider the version of A (→GE1) to be erroneous, which is indicated by the orchestral part – an F in cellos and double basses is both in the later version of AsI and in the voices of GE and FE. The correct version of FE almost certainly resulted from Chopin's correction, probably introduced still into the copy of GE1 serving as the basis for that edition – there are no visible traces of changes in print. The corrections present in GE2 (→GE3,FESB) and EE2 (→EE3) can be considered revisions on the basis of orchestral parts. In the case of GE2, Chopin's intervention is also likely; his participation in the preparation of that edition is generally questionable, yet it cannot be excluded to a limited extent. category imprint: Differences between sources issues: EE revisions , Terzverschreibung error , GE revisions , Errors of A , Authentic corrections of FE , Authentic corrections of GE |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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This bar belongs to one of the few places in which Chopin, while working on this variation, changed the shape of the melody formed by the R.H. topmost notes (see also bars 11 and 24). The interpretation of the AsI notation presents some difficulties, since it is uncertain whether the 3 grace notes, which could have been added later, were supposed to complement the figuration or whether they were an original way to mark the change of concept of the topmost notes to the final version. The latter is supported by analogous bar 20, in which AsI includes the final version entered without hesitation. In either case, the notation of these grace notes is puzzling, since each is provided with a different form: a semiquaver, a slashed quaver, a quaver, respectively. Perhaps Chopin wanted to try out different forms of notation to see which one would suit him best. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Terzverschreibung error , Errors in the number of ledger lines , Accompaniment changes , Main-line changes |
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b. 5
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composition: Op. 26 No 1, Polonaise in C♯ minor
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A (→FE→GE1,EE) includes an erroneous A2-C category imprint: Interpretations within context; Differences between sources issues: Terzverschreibung error , Errors in the number of ledger lines , Errors of A |