b. 338
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composition: Op. 2, Variations, complete
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Chopin removed b while proofreading FE1 (→FE2). The removal of this note prepares a strictly four-part texture of the next two bars and ensures that the chromatic connection between the G6< major and B major chords is as legible as possible. category imprint: Differences between sources; Corrections & alterations |
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b. 338
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composition: Op. 2, Variations, complete
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The missing hairpin in the editions is probably an oversight by the engraver of GE1. He could have also assumed that there is too little space for this mark over the slur – cf. the previous bar, in which both marks written by Chopin between the R.H. voices were placed in the editions over the top voice. category imprint: Differences between sources issues: Errors in GE |
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b. 339
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composition: Op. 39, Scherzo in C♯ minor
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There is no bass clef at the end of the bar in EE, GC or FE. Given this consistency of sources we may cpnclude that this error was already present in the two autographs. Since the chords of RH in b. 340 are notated on two staves, lack of the clef does not pose any problems for the text interpetation (in EE and FE b. 340 is printed as the new line of the text with the right clef at the beginning, which minimises the consequences of this omission). The clef was supplemented in GE. We can find similar inaccuracy in b. 347. category imprint: Source & stylistic information issues: Inaccuracies in FE , GE revisions , EE inaccuracies , Errors of GC |
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b. 339-340
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composition: Op. 21, Concerto in F minor, Mvt I
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Taking into account a significant similarity of these bars to the previous ones, in the main text we suggest analogous markings. category imprint: Editorial revisions |
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b. 339
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composition: Op. 21, Concerto in F minor, Mvt III
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In the main text we add cautionary flats before e1(2). category imprint: Editorial revisions |