b. 265-267
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composition: Op. 22, Polonaise
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In the entire three-bar chromatic sequence, in the main text we suggest a few cautionary accidentals in the R.H. part – of g1 in b. 265, of a2 in b. 266 and of e2 and of f2, g2 in b. 267. In turn, we omit the naturals before d and d1 present in the sources in b. 266. category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 265
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composition: Op. 2, Variations, complete
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The hairpin is written in A between the staves and begins after the 1st R.H. chord (in Af the bottom arm starts as early as at the beginning of the bar). In GE (→FE,EE) the mark was moved to over the R.H. part, which, in this case, does not significantly influence its meaning. The change was most probably forced by lack of space between the staves; it cannot come from Chopin. The slight change of range in GE1 (→GE2) – the beginning of the mark was moved slightly to the right – was intensified by all subsequent editions, while FESB additionally reversed the direction of the mark, which is a frequent mistake in the first editions of Chopin's pieces. category imprint: Differences between sources issues: Errors in FE , Inaccuracies in GE , Inaccuracies in FE , Placement of markings , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Sign reversal |
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b. 265
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composition: Op. 2, Variations, complete
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In AsI, Af and A (→GE1→EE1→EE2) there is no lowering c2 to c2. Chopin's patent oversight was corrected by FE1, GE2 (→GE3,FESB) and EE3. category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of FE , FE revisions |
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b. 265
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composition: Op. 2, Variations, complete
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In the entire G major section of Variation V (bars 263-268), the pedalling markings are written in A rather carefully; however, it can be seen that more attention was paid to keeping the marks on the same level than to their correct alignment. In particular, the marks in bar 265 are written before the bass D notes, as a result of which the preceding marks had to be written sufficiently earlier. It did not lead to a significant inaccuracy at the end of bar 264; however, on the 2nd beat of bar 265, the mark actually falls before the d-a-c1 quaver. Such an early pedal release could not have been intended by Chopin, since the and marks are written next to each other and almost certainly simply indicate a pedal change. category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in A , |
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b. 266
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composition: Op. 39, Scherzo in C♯ minor
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The absence of the arpeggio wavy line in EE is probably an error, yet we cannot rule out the possibility that this was the initial version of the notation here. category imprint: Differences between sources issues: Errors in EE |