Issues : Abbreviated notation of A
|
b. 10-15
|
composition: Op. 10 No 11, Etude in E♭ major
..
In A these 6 bars are written in an abbreviated form, being the repetition of bars 2-7. In bar 10 Chopin additionally wrote the notes of the part of the R.H., perhaps in order to facilitate the identification of the bar from which the copying should start. In "empty" bars 10-15 Chopin wrote exact hints like "as the 2nd bar of the beginning," yet he did not number the written out bars 2-7. The numeration written in pencil (the digits from 1 to 5 both over bars 3-7 and 11-15), probably by the engraver, proves that Chopin's description was not sufficient. category imprint: Differences between sources issues: Abbreviated notation of A |
|
|
b. 11
|
composition: Op. 28 No. 16, Prelude in B♭ minor
..
In A (→FC) this bar is written as a repetition of the preceding one (with the use of •/• marks). A similar situation is to be found in b. 13 and 35 and 37. category imprint: Source & stylistic information issues: Abbreviated notation of A |
|
|
b. 12-13
|
composition: Op. 35, Sonata in B♭ minor, Mvt III
..
Same as in bars 2, 5 and 8, in GC the repeating fragments of these bars – parts of both hands in bar 12 and part of the L.H. in bar 13 – are marked in an abbreviated manner with •/• signs. The interpretation of this notation, certainly repeated after [A], is not entirely clear – see bars 11-13. category imprint: Source & stylistic information issues: Abbreviated notation of A |
|
|
b. 13-14
|
composition: Op. 25 No 11, Etude in A minor category imprint: Source & stylistic information issues: Abbreviated notation of A |
|
|
b. 13-20
|
composition: Op. 64 No 1, Waltz in D♭ major
..
In A the bars are marked additionally with numbers from 1 to 8, used later for the abbreviated notation of bars 85-92. category imprint: Source & stylistic information issues: Abbreviated notation of A |