Issues : Authentic post-publication changes and variants
b. 27-28
|
composition: Op. 10 No 7, Etude in C major
..
Chopin's annotation in FED establishes a different dynamic concept of this transition here. According to us, it is at least equal with the version of A (→FE→GE,EE). However, as it cannot be excluded that according to the composer's intention the change was only a suggestion connected with the personality or capabilities of a certain pupil, in the main text we limit ourselves to giving information on this alternative concept. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants |
||||||||
b. 28
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The additions in FED and FEFr may be regarded two versions of the same musical idea - syncopations in FEFr show the rubato performance of the quavers in FED. category imprint: Differences between sources; Corrections & alterations issues: Annotations in FED , Annotations in FEFr , Authentic post-publication changes and variants |
||||||||
b. 28
|
composition: Op. 25 No 8, Etude in D♭ major
..
The dynamic indications of the final part of the Etude were almost certainly added by Chopin to the three, generally finished, Stichvorlage manuscripts. In bars 28-31, EE1 transferred the most elaborately developed version with in bar 28 and diminuendo in bars 30-31, A (→GE) includes only , while FE, devoid of indications, remained in the shape preceding the additions. Circa 10 years after the publication of the Etudes, Chopin added here in a pupil's copy (FED), which, according to us, is to be considered as an alternative dynamic concept and not a conclusive change. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants |
||||||||
b. 30
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The variant given by Franchomme seems recommendable as a variation of the motif upon its repetition that is very characteristic for Chopin. category imprint: Differences between sources issues: Annotations in FEFr , Authentic post-publication changes and variants |
||||||||
b. 30
|
composition: Op. 35, Sonata in B♭ minor, Mvt III
..
The written in FES version with a chromatic, quaver progression of the bass constitutes a diversification of the transition to the D major section, referring to the ending of bar 22, same as the original transition refers to bar 14. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants |