|
b. 343
|
composition: Op. 2, Variations, complete
..
Both the absence of the m.s. indication in FE and it having been placed too early in FESB must be mistakes. category imprint: Differences between sources issues: Errors in FE , |
|||||||||||
|
b. 343-348
|
composition: Op. 2, Variations, complete
..
In bars 343-344 and 347-348 in both manuscripts Chopin used abbreviations to write down the repeated R.H. triplets. In AsI he wrote all triplets (except the first one) this way in each bar. In A the notation is very similar – it is only in bar 343 that the first three triplets are written out with notes. category imprint: Differences between sources issues: Abbreviated notation of A |
|||||||||||
|
b. 344
|
composition: Op. 39, Scherzo in C♯ minor
..
In FE the crotchet in LH is f category imprint: Differences between sources issues: Errors in FE |
|||||||||||
|
b. 344-347
|
composition: Op. 39, Scherzo in C♯ minor
category imprint: Differences between sources issues: Errors in EE , Inaccuracies in GC , Errors of GC |
|||||||||||
|
b. 344
|
composition: Op. 21, Concerto in F minor, Mvt III
..
The dotted rhythm in A is the original version (cf. analogous bar 20), left here by Chopin, perhaps unintentionally. Therefore, the quavers in GE (→FE→EE) may be a result of Chopin's proofreading, although the absence of visible traces of performing changes in print allows us to consider a possible mistake of the engraver. category imprint: Differences between sources issues: Authentic corrections of GE , Omitted correction of an analogous place |
2-g
-f
