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b. 313-314
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composition: Op. 2, Variations, complete
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This note concerns the 4 fingering digits at the end of bar 313 and on the 1st beat of bar 314, whose interpretation in the principal sources does not raise any difficulties – excluding the digit over the 1st semiquaver in bar 314, which we discuss separately. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A , Errors in FESB |
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b. 313
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composition: Op. 49, Fantaisie in F minor
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In A both L.H. chords were written twice. The initial entry was crossed out so thoroughly that it is only the shape and size of the blot that could allow us to assume that the topmost note was a d1, while the entire chord could have looked like as follows: d-e-g category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 313
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing wedge in GE (→FE,EE,IE) is almost certainly an oversight – in A the mark was written too high, closer to the R.H., hence it could have been overlooked while working on the L.H. part (starting from the 2nd half of this bar, Chopin wrote the marks concerning the R.H. above the top stave). category imprint: Differences between sources issues: Errors in GE |
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b. 313
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The GE revision (→FE,EE,IE) is justified – all crotchets in this bar (and most probably also in the next one) are certainly to be performed with the same articulation. However, starting from the 2nd half of the bar, Chopin used staccato marks to separate (accent) some R.H. quavers and could have wanted to avoid similar marks in the accompanying part. Due to the above, in the main text we do not include the marks added in the editions. category imprint: Differences between sources issues: GE revisions |
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b. 313-316
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The staccato marks with which Chopin provided in A nine quavers constituting – along with the accents and slurs – a phrase separated from the figuration are heterogeneous. Three of them resemble wedges, three – dots, the remaining ones also dots, but carelessly written. As there is no visible reason to differentiate between them, to the main text we adopt dots. In GE (→FE,EE,IE) the marks were reproduced as wedges, perhaps after comparing this fragment with analogous bars 104-107. This version, after including the correction introduced by IE, which was the only one to move the second wedge in bar 313 to its right position, can be considered an equal variant. category imprint: Graphic ambiguousness; Differences between sources issues: Wedges , Inaccuracies in A |
2 and d2 were altered and are poorly legible; however, Chopin most probably opted for 4-5, as it is in the remaining sources.
-d1. In the 2nd half of the bar Chopin initially wrote a d1-e1-g
