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b. 244
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composition: Op. 2, Variations, complete
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In GE3 the category imprint: Interpretations within context; Differences between sources issues: Errors in GE |
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b. 244
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composition: Op. 2, Variations, complete
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None of the sources includes accidentals before the last octave except GE3, in which a category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
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b. 244
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composition: Op. 49, Fantaisie in F minor
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The FE rhythm (→EE) must be a mistake, probably committed by the copyist in [FC]. Moving the semiquaver beyond the 3rd quaver in the L.H. triplet was an arbitrary decision by the engraver of GE – see bars 77-82 and 245-249. category imprint: Differences between sources issues: Errors in FE , GE revisions , Dotted rhythms and triplets , Dotted or even rhythm |
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b. 244
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composition: Op. 49, Fantaisie in F minor
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In the main text we give the A version (→GE), analogous to the version in bar 168. The FE version could be considered a Terzverschreibung mistake if it were not for the fact that it is musically reasonable and could have been introduced by Chopin into [FC] or while proofreading FE1. Such swinging motion of the figuration topmost notes can often be seen in Chopin's pieces, cf., e.g. the Variations in B category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 244
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composition: Op. 49, Fantaisie in F minor
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In the main text we add cautionary flats to a category imprint: Editorial revisions |
raising f2 to f
2 in the first chord was overlooked.
restoring c-c1 was added (due to the use of con 8va, one accidental was enough). In this context, Chopin's mistake is obvious.
, Op. 12, bars 192-195, Bolero, Op. 19, bars 155-167, Sonata in B minor, Op. 58, I mov., bars 41-47. Therefore, this version can be considered an equal variant.