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b. 228-239
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composition: Op. 2, Variations, complete
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The semiquavers being grouped differently in the editions resulted from an arbitrary decision of the engraver of GE1 – see bars 208-227. category imprint: Differences between sources issues: GE revisions |
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b. 228-239
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composition: Op. 2, Variations, complete
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The initial edit of the solo part of this variation, the only one written down in AsI and crossed out in A, is discussed separately as Variation IV, initial version. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 228-230
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composition: Op. 49, Fantaisie in F minor
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In bar 228 and 230 the absence of accents in FE (→EE1) proves that Chopin added them to A after [FC] had been finished. In GE, and on the basis thereof also in EE1, the marks are standardised – long in GE and short in EE2. In the main text we give the A version with a pair of accents of different length in each of these bars. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE |
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b. 228-230
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composition: Op. 49, Fantaisie in F minor
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As in previous similar passages, in the 2nd half of bar 228 and 230 Chopin did not write accidentals in the R.H. part. This version was repeated by FE1, while in FE2 (→EE) and GE flats were added to the 2nd and 4th quavers (c category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 228-230
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we do not include the inauthentic fingering added by EE. category imprint: Differences between sources issues: EE revisions |
2 and f
