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b. 316
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composition: Op. 2, Variations, complete
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The absence of the beginning of the slur the ending of which can be seen in a new line in bar 317 must be a mistake by the engraver of GE (→FE,EE). See bar 317. category imprint: Differences between sources issues: Errors in GE |
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b. 317
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composition: Op. 2, Variations, complete
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This bar opens a new line. In the case of GE (→FE), the ending of the slur from bar 316 leads to confusion, since in the preceding bar none of those editions feature a beginning of any slur. Luckily, we are able to reproduce it in our transcriptions. Two possible interpretations of this notation – a slur from the last semiquaver in bar 316 and no slur correspond to the version of A with a correctly written slur and EE, in which this ending of a non-existent slur was removed. category imprint: Differences between sources issues: Errors in GE |
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b. 317
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composition: Op. 2, Variations, complete
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As so many times before, the dots having been reproduced as wedges resulted from the simplified interpretation of the notation of A by the engraver of GE1. In this case, it is very difficult to notice the second one, since it is overlapped by the cresc. indication. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Wedges , Inaccuracies in A |
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b. 317
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composition: Op. 2, Variations, complete
category imprint: Differences between sources issues: Errors in GE |
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b. 318
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composition: Op. 2, Variations, complete
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In the main text we reproduce the notation of A, emphasising, as it seems, the syncopated quavers in the top voice. The shifted marks in the editions are gathered around the beginnings of the even triplets, which could not have been Chopin's intention – marks of such range cannot concern the top voice, next to which they were written. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
in 