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b. 287
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composition: Op. 11, Concerto in E minor, Mvt III
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GE is missing the category imprint: Differences between sources issues: Omissions to cancel alteration , Authentic corrections of FE , Errors repeated in GE |
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b. 287
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we add a slur after analogous bar 59. An additional argument for the need of a slur over those semiquavers is the Chopinesque proofreading of slurring in bars 288-289 – Chopin encompassed with a slur the analogous notes in bar 288, starting earlier the slur in bar 289. category imprint: Editorial revisions |
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b. 287
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composition: Op. 11, Concerto in E minor, Mvt III
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We add cautionary naturals before e-e1 in the main text. category imprint: Editorial revisions |
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b. 287
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composition: Op. 2, Variations, complete
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In all sources, the dashes marking the range of the indication from bars 282-283 run continuously to the end of the tutti in bar 290. Except FE1 (→FE2), in which there is a simple octave sign, indicating that the given fragment is to be performed an octave higher, the notation seems to be simplified, since the chordal texture on the 3rd beat of bar 287 makes a performance with added octaves (con 8va) impossible. In the content transcriptions (the versions "edited text") and in the main text we specify this notation accordingly by inserting 8 on the 3rd beat of bar 287. One can also ponder whether Chopin wanted "con o in", which seems to have been added before a simple octave sign (8va¯ ¯ ¯) in A, to be understood as "in octaves" initially and "an octave higher" from the 3rd beat of bar 287. In other words, it would be a joint instruction on how to perform the entire tutti, and not a description of two possible performances of the first phrase. Chopin would then expect a common-sense approach from the performer, who would have to guess that first, as long as possible, it is con 8va that is valid, and then, from the 3rd beat of bar 287 – in 8va. However, such understanding is contested by the way the indication was used in the Fantasy on Polish Airs, Op. 13, bars 130-148, in a context that rules out such an interpretation – the entire theme, encompassed with the indication, is written there in single notes, hence there are no grounds to assign con 8va to one fragment and in 8va to another. category imprint: Interpretations within context; Source & stylistic information issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Inaccuracies in A |
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b. 287
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composition: Op. 2, Variations, complete
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The top notes of the chords on the 2nd beat of the bar, d1-f1, are written down in A (→GE→FE,FESB) on the top stave, as a result of which they came within range of the R.H. part octave sign. If they were to be included by the octave sign, it would be impossible to perform them with the L.H., which is clearly indicated by the stems and the beam shared with the f-b category imprint: Interpretations within context issues: EE revisions , Inaccuracies in A |
restoring a2 in the middle of the bar. It may mean that the accidental could have been added in the last proofreading of 
fourths. The awkward notation most probably resulted from the initial version of this tutti, written down in