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b. 263
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composition: Op. 23, Ballade in G minor
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In A one can see a deleted note in the chord (b category imprint: Corrections & alterations; Source & stylistic information issues: Deletions in A , Accompaniment changes |
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b. 263
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composition: Op. 2, Variations, complete
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Chopin's patent mistake in A is indicated by the presence of an octave sign both in the earlier manuscripts, AsI and Af, and in all editions. It is difficult to say whether the addition of this indication to GE1 came from Chopin, since in this context it could have seemed obvious. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors of A , Authentic corrections of GE |
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b. 263-265
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composition: Op. 2, Variations, complete
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In Af the L.H. rhythmic notation is more accurate in this entire fragment that starts here (until bar 267, the last one written in Af) – every half a bar, over each bass note, there is a quaver rest filling the top voice. The absence of those rests in A and the editions is a manifestation of the budding Chopinesque economy of notation, according to which rests the sole function of which is to fill the bar in one of the voices, are worth omitting for the sake of legibility if – as is the case here – it does not disrupt the understanding of the arrangement of voices and their rhythm. Cf. the note on bars 16-17 describing a situation in which a similar procedure turned out incomprehensible and misled the engravers. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information |
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b. 263
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composition: Op. 49, Fantaisie in F minor
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In FE1 the 1st quaver in the 2nd half of the bar is a d category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 263
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composition: (Op. 4), Sonata in C minor, Mvt IV category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
).
restoring b