Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 11, Concerto in E minor, Mvt I
Upon the first appearance of the three five-note descending motifs, it is the inconsistency between the authentic piano reduction, contained in Atut (→FE→GE,EE), and the orchestral parts of FEorch (→GEorch) that draws our attention. The doublings in the upper octave are present only in the motif spanning bars 15 and 16, performed by Violins I, Violas and Cellos. In the 2nd half of bar 13, only Flute I plays, with the Flute II joining in unison for the following two notes, whereas the repetition of the motif in bars 14-15 is performed by Bassoon I.
For other discrepancies of this kind see bars 15-19 and 33.
Compare the passage in the sources »
category imprint: Source & stylistic information
notation: Pitch
