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b. 308-309
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composition: Op. 2, Variations, complete
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The corrections and erasures visible in A reveal that Chopin initially wrote a slur only over the semiquaver sextuplet. Similar changes of conventional slurs related to the notation of irregular groups into motivic slurs are also to be found in other pieces by Chopin, e.g. in the Etude in C minor, Op. 10 No. 12, bars 52-62. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Triplet slurs |
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b. 308
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composition: Op. 49, Fantaisie in F minor
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The fact that the A version was restored at the stage of proofreading FE2 (→EE), perhaps at Chopin's request, indicates that the FE1 version is almost certainly erroneous. category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Authentic corrections of FE , FE revisions |
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b. 309
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composition: Op. 21, Concerto in F minor, Mvt I
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In A there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Errors in EE , GE revisions , Omission of current key accidentals , Inaccuracies in A |
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b. 309
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composition: Op. 21, Concerto in F minor, Mvt I
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In the 1st half of the bar the slur in the L.H. was corrected in A – it was most probably Chopin that added a new beginning to the original slur over the entire group of quavers, so that the corrected slur would start from the 2nd quaver. GE1 did not include this correction, whereas GE2 copied it also in the second slur in this bar. The absence of slurs in FE is a patent oversight, which was revised in EE, by providing with slurs the notes which were not marked staccato. The last version may be considered to be justified, yet due to a likely though unobvious inaccuracies in the notation of the articulation of the L.H. in bars 309-310, in the main text we leave the version of A. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GE , Corrections in A , GE revisions |
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b. 309
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composition: Op. 21, Concerto in F minor, Mvt I
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The traces of erasure, visible in A, allow to read the original version of the 1st half of the bar, in which the last note was an a1. In this version, the 3rd and 4th quavers were written in the treble clef, in which the removed note was written; however, it is unknown whether the correction of the moment of the beginning of the slur is to be linked to the change of the last note. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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