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. 2, Variations, complete
In Af the L.H. rhythmic notation is more accurate in this entire fragment that starts here (until bar 267, the last one written in Af) – every half a bar, over each bass note, there is a quaver rest filling the top voice. The absence of those rests in A and the editions is a manifestation of the budding Chopinesque economy of notation, according to which rests the sole function of which is to fill the bar in one of the voices, are worth omitting for the sake of legibility if – as is the case here – it does not disrupt the understanding of the arrangement of voices and their rhythm. Cf. the note on bars 16-17 describing a situation in which a similar procedure turned out incomprehensible and misled the engravers.
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations; Source & stylistic information
notation: Rhythm
