



b. 294
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composition: Op. 2, Variations, complete
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As in the previous bars, in GE (→FE,EE) the Chopinesque staccato dots were replaced with wedges, thus unifying the markings, carefully differentiated by the composer. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 294
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composition: Op. 2, Variations, complete
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The absence of c1 in the last chord is most probably an oversight by the engraver of GE (→FE,EE) caused by the notation of A, which is not entirely clear. The presence of this note in AsI, however, is a strong argument for a similar interpretation of the notation of A. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A |
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b. 294
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composition: Op. 49, Fantaisie in F minor
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As was the case with stretto in bar 290, più mosso was almost certainly added to A after [FC] had been finished. When interpreted literally, the indication begins over the 2nd crotchet in the bar, which suggests that the tempo should be increased only just starting from that place. However, it is uncertain whether it actually corresponds with Chopin's intention, since in his autographs one can quite often encounter the remaining elements of an earlier manner of placing markings within their scope (cf. bar 109), which in this case would require a tempo change already at the beginning of the bar. This is how it was interpreted in EE2, in which the indication, repeated after GE1, was moved to the beginning of the bar. In the main text we reproduce the A notation; however, the EE2 version can be considered an equal variant. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Centrally placed marks |
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b. 294
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composition: Op. 49, Fantaisie in F minor
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In the main text we give the A slurs (→GE), which provide the beginnings of the analogous phrases in bar 294 and 302 with homogenous articulation. The fact that the first two chords are to be separated was additionally specified with a staccato on the 1st crotchet. The FE slur is most probably authentic and corresponds with the phrasing in analogous bar 127. The EE2 version arbitrarily compiled the slur drawn from FE with the short slur repeated after GE1. category imprint: Differences between sources issues: EE revisions |
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b. 294
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composition: Op. 49, Fantaisie in F minor
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In the main text we suggest adding an accent over the syncopated e category imprint: Editorial revisions |