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b. 290
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composition: Op. 2, Variations, complete
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The initial version of AsI and A, with only one a2-c3 third, was additionally depleted by GE (→FESB,EE1→EE2), which did not notice the a2 crotchet at the beginning of bar 291 (it can be difficult to establish the presence of a middle note on ledger lines in Chopin's autographs, although in this case the a2 notehead is quite distinct). While proofreading FE1 (→FE2) Chopin added bottom thirds to the entire three-note motif, which was also taken into account by EE3. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Errors in GE , Authentic corrections of FE , Uncertain notes on ledger lines |
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b. 290
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composition: Op. 2, Variations, complete
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In GE (→EE,FESB) the R.H. part was retouched in the version of A – the chord and the sixth on the 2nd and 3rd beats of the bar were written down in two-part writing. It is uncertain whether it was an authentic change – it could have been introduced by the engraver or reviser in order to achieve homogeneous two-part writing. However, much more serious changes – as was also the case with the previous bar – were introduced in the stage of proofreading FE1 (→FE2), which is proven by the visible traces of corrections, e.g. the outlines of the noteheads of the F and B category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 290
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composition: Op. 49, Fantaisie in F minor
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The chord in the 2nd half of the bar initially contained b category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 290-293
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composition: Op. 49, Fantaisie in F minor
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The seven accents written in A, in spite of slight differences in length, are certainly long accents. All editions reproduced them as common, short accents, probably due to the fact that in this context they could not be considered diminuendos, which is how Chopinesque long accents were generally interpreted. The absence of the penultimate mark (at the beginning of bar 293) is most probably an oversight by the copyist or by the engraver of FE1. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in FE , Inaccuracies in GE , Inaccuracies in FE |
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b. 290-291
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composition: Op. 49, Fantaisie in F minor
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The stretto - - indication was almost certainly added to A after [FC] had been finished. Such an explanation for its absence in FE (→EE1) is supported by the fact that in this group of sources the next agogic indications are missing as well, that is più mosso in bar 294 and sempre più mosso in bars 306-309. The oversight of the dashes marking the scope of stretto in GE, a frequent inaccuracy in the Chopinesque editions, seems to be important in this case, since the A notation most probably indicates that stretto is to be applied only over the course of one bar and a half and not, as it could be expected, until più mosso in bar 294. In EE2 the indication was repeated after GE1. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A |
quavers. At the same time, there is no doubt that they come from Chopin, hence we include them in the main text. In the changed version, an inaccuracy was committed – the f-f1 octave was mistakenly placed under the e
