|
b. 319
|
composition: Op. 11, Concerto in E minor, Mvt I
..
According to us, placing the accent under the a2 semiquaver is inexplicable from the musical point of view and is most probably a mistake of the engraver of FE, who put the mark a semiquaver too early. In the main text, we move the accent over the crotchet in the L.H., which, judging from the next two similar bars, should be accented. Such an interpretation of this mark was adopted also in GE3. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
||||||||
|
b. 319
|
composition: Op. 44, Polonaise in F♯ minor
..
Chopin would use the dim. abbreviation much more frequently than dimin.; therefore, it is likely that the Viennese publisher changed it arbitrarily (the change does not affect the meaning of the indication). The composer could have entered it into [A] after Fontana had finished [FC]. Alternatively, it could have been overlooked in the basis for FE (→EE) or in the edition itself. Anyways, there are no reasons to doubt its authenticity, hence we give it in the main text. category imprint: Differences between sources |
||||||||
|
b. 319
|
composition: Op. 44, Polonaise in F♯ minor
..
According to us, holding changing chords on one pedal, as marked in GE, cannot correspond to Chopin's intention in this context. Therefore, it is probably a mistake of the engraver or even of Chopin himself, who, when adding, probably in a hurry, the pedaling in [A], could take into account only the bass note. Due to the above reason, in the main text we suggest supplementing this pedalling accordingly. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE |
||||||||
|
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 |
