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b. 2-12
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composition: Op. 39, Scherzo in C♯ minor
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EE is the only source to have staccato dots in bars 2, 4, 10 and 12. There are no reasons to doubt their authenticity. category imprint: Differences between sources |
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b. 2
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composition: Op. 45, Prelude in C♯ minor
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The lack of the grace note in GE may result from the inattention of the engraver. A sligtly bigger gap between the two first crotchets of the bar may be interpreted as the space planned to accommodate that ornament. However, this is not at all certain, as uniform spacing between the notes is not strictly adhered to in GE. Therefore we offer a variant solution. The tiny slur in EE is certainly a routine addition of the editor. A similar situation occurs in the Etude in F minor Op. 10 no. 9, bar 64. category imprint: Differences between sources issues: Errors in GE |
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b. 2-4
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composition: Op. 10 No 2, Etude in A minor
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In FEcor Chopin added staccato dots also under the semiquavers of the lower voice in the R.H. (in bar 4 only under the first one). In a later proofreading he changed his mind, so that in FE (→GE→EE) the dots are eventually absent. The staccato signs are also absent in Ap, in which they would be, however, contrary to the longer rhythmic values of the described two-note chords. category imprint: Interpretations within context; Differences between sources; Corrections & alterations |
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b. 2
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composition: Op. 10 No 2, Etude in A minor
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The category imprint: Differences between sources |
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b. 2-6
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composition: Op. 10 No 2, Etude in A minor
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Lack of the lower octave at the beginning of bars 2 and 6 in Ap suggests Chopin's hesitation concerning its presence – the octaves are both in CLI, representing the earliest stage of the Etude's notation and in FE (→GE,EE), which ends the shaping process of the piece's text. Similarly in bar 10, 14, 37 and 41. category imprint: Differences between sources issues: Chopin's hesitations |
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