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b. 55
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composition: Op. 2, Variations, complete
category imprint: Differences between sources |
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b. 55
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composition: Op. 2, Variations, complete
..
We add a cautionary category imprint: Editorial revisions |
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b. 55-57
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composition: Op. 2, Variations, complete
..
In the main text we do not include the fingering added by GE2 (→GE3,FESB) due to its questionable authenticity. It is particularly the use of the 5th and 4th fingers in the 2nd figure in b. 56 and the 1st figure in b. 57 that is dubious – Chopin would repeat the 5th finger in similar contexts, e.g. in the Polonaise in E category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 55-61
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composition: Op. 2, Variations, complete
..
Unlike in b. 16-17 and subsequent, GE arranged the L.H. notes correctly: it is clearly indicated that each of the 4 notes in each half-bar figure should be played separately (only at the beginning of b. 60 the second note – a dotted crotchet – is written too close to the minim, which could raise doubts if considered without the context of this entire fragment). In spite of that, FE combined the dotted crotchet with the minim in two places (at the beginning of b. 60 and at the beginning of b. 55), thus suggesting that they should be performed simultaneously (the same mistake was also committed at the beginning of b. 62). In FESB the L.H. arrangement is greatly inaccurate; however, the defects are due to carelessness, supposedly without influence on the understanding of the rhythmic structure of these bars. The boldest distortion is to be found in EE, in which in all places the dotted crotchets are combined with the preceding minims, which means that they are to be played simultaneously (also in b. 62). category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , FE revisions |
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b. 55
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composition: Op. 2, Variations, complete
category imprint: Interpretations within context; Differences between sources |
before e
3 in the main text.
