|
b. 319-320
|
composition: Op. 2, Variations, complete
..
In each of these bars the notation of the top notes of the 6 subsequent thirds with a smaller font was introduced – certainly by Chopin or in agreement with him – in FE1 (→FE2). In his entire oeuvre, Chopin published such a simplified, alternative version, written down in such a manner, only 2 times, actually in a very similar context of a descending, chromatic sequence of sixth chords, the middle notes of which, performed by the L.H. together with the bottom ones, can be left out. Such notation is to be seen in the Grand Duo Concertant for piano and cello, Dbop. 16, bars 247-250. Remarkably, the Parisian editions of both pieces appeared in 1833; therefore, it could have been the work on the Grand Duo that suggested him the idea to introduce a similar solution in the Variations as well. category imprint: Differences between sources issues: Authentic corrections of FE |
||||||||
|
b. 319
|
composition: Op. 2, Variations, complete
category imprint: Differences between sources; Editorial revisions |
||||||||
|
b. 319
|
composition: Op. 2, Variations, complete
..
The pitch of the middle note in the penultimate triplet (in both bars) raised doubts of many later editors of Chopin's works. In fact, there are many arguments that make one consider an oversight of the category imprint: Editorial revisions; Source & stylistic information issues: Omissions to cancel alteration , Errors of A |
||||||||
|
b. 319
|
composition: Op. 2, Variations, complete
..
Chopin marked with wedges 5 thirds, since the last two are connected by a slur. Therefore, the sixth wedge in GE (→EE,FESB) must be a mistake. In FE all these marks were omitted, which was most probably a side effect of the intervention in the size of notes – see the next note. As far as the notation of AsI is concerned, it is inaccurate, while the compliance in terms of the number of wedges with the version of A is most probably accidental – Chopin scribbled a few dashes (marking wedges) with the intention of marking all 6 semiquavers in this way and did not bother to check their number in the working manuscript (in the R.H. he put as many as 7 dashes!). category imprint: Differences between sources issues: Errors in FE , Errors resulting from corrections , Errors in GE |
||||||||
|
b. 319
|
composition: Op. 49, Fantaisie in F minor
..
In the case of a single mark, it is difficult to say whether its absence in FE resulted from an oversight or whether Chopin added this accent to A after [FC] had been finished. The length of this accent is also uncertain, particularly when compared with the mark at the beginning of bar 318. The interpretation we adopted is supported by (in addition to the musical context – long note) a combination of graphic factors – it is longer than the marks in bar 317 and narrower and tilted to a lesser extent than the accent in bar 318. The engraver of GE was also influenced by the mark's length to a certain extent – in this edition the respective mark is slightly longer than the previous ones. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
2 & d
restoring d2(1) to be likely. However, as the literal interpretation of the text results in a version that perfectly fits into the Chopinesque style, in the main text we leave the source version.
