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b. 377
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composition: Op. 2, Variations, complete
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In AsI the last three staccato marks are dots, and not wedges, as the first three and as it is in the published version. The difference between the markings of the first and second half of the bar also concerns slurs – see the next note. All these markings are only in the R.H. part and only in this bar, hence it seems that Chopin was checking here what different variants of markings of this figuration look like. Having eventually opted for wedges and two-note slurs, he wrote them in A in the entire passage. category imprint: Differences between sources; Corrections & alterations issues: Wedges |
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b. 377
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composition: Op. 2, Variations, complete
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As was the case with staccato dots – see the previous note – the three-note slurs in the 2nd half of bar 377 are probably an attempt at finding the best way to mark articulation of the final passage of the Variations. Eventually, Chopin opted here for shorter slurs, but in a similar context in the finale of the Concerto in F minor, Op. 21, bars 506-510, he wrote slurs encompassing 3 notes. category imprint: Differences between sources; Corrections & alterations |
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b. 377-381
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composition: Op. 2, Variations, complete
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The slur in AsI ends abruptly at the end of the page, clearly beyond the final bar line in bar 379. Therefore, it is almost certain that the slur was supposed to be encompassing the entire final passage, which we suggest as a contextual interpretation of this slur. It is uncertain whether Chopin ever considered using this slur together with the short slurs and the staccato marks of the final version (it would then be a phrase mark). The long slur was added probably earlier than the remaining marks of AsI visible in bar 377. It is indicated by a clear difference in the line thickness, suggesting the use of a different pen. category imprint: Differences between sources |
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b. 378
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we leave the notation of A, without the slur in the L.H. The slur of GE (→FE→EE), perhaps added by Chopin in the proofreading of GE1 and compliant with the authentic slur in analogous bar 34, can also be considered to be compatible with Chopin's intention. category imprint: Differences between sources issues: Authentic corrections of GE |
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b. 378
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composition: Op. 11, Concerto in E minor, Mvt I
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The mistake of FE is proved by the orchestral part, in which there is a B in cellos and double-basses, as well as by the Chopinesque correction in FED. The correct text was introduced in GE probably on the basis of comparison of the piano part with the orchestral parts. EE3 was revised probably on the basis of GE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , GE revisions , Errors repeated in EE |
