Rhythm
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b. 14
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composition: Op. 2, Variations, complete
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In FE, the quaver beam of thirds on the 2nd beat was mistakenly omitted. category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 15
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composition: Op. 2, Variations, complete
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The division of the figuration is an evident improvement of notation, since it corresponds to the rhythmically well-determined melodic and harmonic structure of the figuration. According to us, the change of slurring introduced in the last stage of shaping the note image of this bar explains why Chopin initially wrote down this bar as one group – he did not want to indicate rhythmic divisions, since the divisions of motifs fall on other places. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 15
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 16-17
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composition: Op. 2, Variations, complete
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Due to small gaps between the notes in GE1, the minims and the following dotted crotchets are written very close to each other; consequently, FE and EE interpreted it as a cue to combine the voices, which, in turn, led to the two notes being played simultaneously. In subsequent bars, a similar situation can be observed. category imprint: Corrections & alterations; Source & stylistic information issues: Errors in GE , GE revisions |
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b. 17
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composition: Op. 2, Variations, complete
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When preparing the Variations for print, Chopin smoothed out the rhythm of the RH. in the 1st half of the bar. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
2 on 2nd quaver of triplet in 