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Issues : FE revisions
b. 180
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composition: Op. 2, Variations, complete
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According to the editors, the category imprint: Differences between sources issues: EE revisions , Scope of dynamic hairpins , GE revisions , Sign reversal , FE revisions , Revisions in FESB , |
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b. 184
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composition: Op. 2, Variations, complete
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In AsI the ornament, added probably later, is provided with a draft and not entirely clear form; however, it is most probably None of the sources includes a mark that would specify the sound of the ornament's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with naturals. Omissions of accidentals in similar situations is a rule rather than an exception in Chopin's pieces – apparently, the composer believed that the sense of key would suggest the right note to the performer. category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: Errors in FE , Placement of markings , FE revisions , , |
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b. 237
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composition: Op. 2, Variations, complete
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In GE1 (→FE1,GE2), the category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions , Errors repeated in FE |
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b. 257
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composition: Op. 2, Variations, complete
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In A there are no accidentals to the 2nd and 3rd R.H. chords. The missing accidentals were gradually added by the subsequent editions – in GE1 (→GE2) both accidentals to the 2nd chord were added, while in EE1 a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , FE revisions , Inaccuracies in A |
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b. 259
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composition: Op. 2, Variations, complete
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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 |