Rhythm
|
b. 259
|
composition: Op. 2, Variations, complete
..
The version of notation of FE and EE, in which the semiquaver of the top voice was placed after the 3rd quaver of the triplet in the remaining voices, is contrary to the Chopinesque understanding of this combination of rhythms – see bars 45-46. Interestingly, the engraver of FE consistently forced his version of notation (contrary to the basis), whereas the engraver of EE decided to depart from the basis only here. category imprint: Differences between sources issues: EE revisions , FE revisions |
|||||||||||
|
b. 263-265
|
composition: 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. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information |
|||||||||||
|
b. 266
|
composition: Op. 2, Variations, complete
..
Strictly speaking, the R.H. figuration, in which 12 notes fall on one quaver, should be written in hemidemisemiquavers. However, in the main text we keep the version of the sources, since Chopin would write down irregular groups of notes encompassing a dozen or so notes in this way, hence in twice as long rhythmic values, also in other pieces, cf., e.g. the Prelude in D category imprint: Interpretations within context; Source & stylistic information |
|||||||||||
|
b. 267
|
composition: Op. 2, Variations, complete
..
In the majority of the sources, the R.H. text on the 1st beat of the bar contains a rhythmic mistake. However, we give the text in this form, since it is impossible to say which elements are written incorrectly and therefore which rhythm Chopin meant. In the main text we give the version of AsI, since it is undoubtedly authentic, rhythmically correct and natural, both aesthetically and pianistically. However, as Chopin did not repeat the version of AsI, he could have wanted to change it then. The alternative versions are two possible reconstructions of a rhythm that could have been intended by Chopin. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
|||||||||||
|
b. 267
|
composition: Op. 2, Variations, complete
..
In the version of AsI and A (→GE→FESB) the dot prolonging g category imprint: Graphic ambiguousness; Differences between sources issues: Authentic corrections of FE , FE revisions , Dotted or even rhythm , Inaccuracies in A |
2 together with f1 in 
