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Issues : Authentic corrections of FE
b. 282
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composition: Op. 2, Variations, complete
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In the main text we give the version of FE, which most probably resulted from Chopin's proofreading. However, taking into account the possibility that the note was shifted by a third (by mistake), which is one of the most frequent errors in rewriting and copying notes, we consider the version of the remaining sources (undoubtedly authentic) an equal variant. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 283
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composition: Op. 2, Variations, complete
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In the main text we include the category imprint: Differences between sources issues: EE revisions , Errors in EE , Chopin's hesitations , Errors of A , Authentic corrections of FE |
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b. 289
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composition: Op. 2, Variations, complete
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We include the changes, undoubtedly Chopinesque, introduced by FE1 (→FE2), in the main text as the latest authentic version. See also both notes in the next bar. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Errors in FE , Omissions to cancel alteration , Authentic corrections of FE |
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b. 290
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composition: Op. 2, Variations, complete
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The initial version of AsI and A, with only one a2-c3 third, was additionally depleted by GE (→FESB,EE1→EE2), which did not notice the a2 crotchet at the beginning of bar 291 (it can be difficult to establish the presence of a middle note on ledger lines in Chopin's autographs, although in this case the a2 notehead is quite distinct). While proofreading FE1 (→FE2) Chopin added bottom thirds to the entire three-note motif, which was also taken into account by EE3. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Errors in GE , Authentic corrections of FE , Uncertain notes on ledger lines |
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b. 290
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composition: Op. 2, Variations, complete
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In GE (→EE,FESB) the R.H. part was retouched in the version of A – the chord and the sixth on the 2nd and 3rd beats of the bar were written down in two-part writing. It is uncertain whether it was an authentic change – it could have been introduced by the engraver or reviser in order to achieve homogeneous two-part writing. However, much more serious changes – as was also the case with the previous bar – were introduced in the stage of proofreading FE1 (→FE2), which is proven by the visible traces of corrections, e.g. the outlines of the noteheads of the F and B category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |