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b. 319
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composition: Op. 44, Polonaise in F♯ minor
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According to us, holding changing chords on one pedal, as marked in GE, cannot correspond to Chopin's intention in this context. Therefore, it is probably a mistake of the engraver or even of Chopin himself, who, when adding, probably in a hurry, the pedaling in [A], could take into account only the bass note. Due to the above reason, in the main text we suggest supplementing this pedalling accordingly. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE |
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b. 319-320
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composition: Op. 2, Variations, complete
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In each of these bars the notation of the top notes of the 6 subsequent thirds with a smaller font was introduced – certainly by Chopin or in agreement with him – in FE1 (→FE2). In his entire oeuvre, Chopin published such a simplified, alternative version, written down in such a manner, only 2 times, actually in a very similar context of a descending, chromatic sequence of sixth chords, the middle notes of which, performed by the L.H. together with the bottom ones, can be left out. Such notation is to be seen in the Grand Duo Concertant for piano and cello, Dbop. 16, bars 247-250. Remarkably, the Parisian editions of both pieces appeared in 1833; therefore, it could have been the work on the Grand Duo that suggested him the idea to introduce a similar solution in the Variations as well. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 319
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Editorial revisions |
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b. 319
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composition: Op. 2, Variations, complete
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The pitch of the middle note in the penultimate triplet (in both bars) raised doubts of many later editors of Chopin's works. In fact, there are many arguments that make one consider an oversight of the category imprint: Editorial revisions; Source & stylistic information issues: Omissions to cancel alteration , Errors of A |
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b. 319
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composition: Op. 2, Variations, complete
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Chopin marked with wedges 5 thirds, since the last two are connected by a slur. Therefore, the sixth wedge in GE (→EE,FESB) must be a mistake. In FE all these marks were omitted, which was most probably a side effect of the intervention in the size of notes – see the next note. As far as the notation of AsI is concerned, it is inaccurate, while the compliance in terms of the number of wedges with the version of A is most probably accidental – Chopin scribbled a few dashes (marking wedges) with the intention of marking all 6 semiquavers in this way and did not bother to check their number in the working manuscript (in the R.H. he put as many as 7 dashes!). category imprint: Differences between sources issues: Errors in FE , Errors resulting from corrections , Errors in GE |
2 & d
restoring d2(1) to be likely. However, as the literal interpretation of the text results in a version that perfectly fits into the Chopinesque style, in the main text we leave the source version.
