Issues : Inaccuracies in A
b. 256
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composition: Op. 2, Variations, complete
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In the entire passage Chopin did not insert any accidentals except the naturals to the 1st and 3rd notes (e and a). The necessity to raise subsequent a to a is beyond dispute; however, the use of e1, e2 and e3 would be harmonically and pianistically possible. Nevertheless, the majority of the arguments support the use of e1, e2 and e3:
As far as the missing naturals to a1 and a2 are concerned, in GE1 (→FE1,GE2→FESB) it was only the one to a2 that was added, which was supplemented by EE and GE3. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of GE , Inaccuracies in A |
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b. 257
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composition: Op. 2, Variations, complete
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The version of AsI and A with f3 as the topmost note of the chord on the 2nd beat of the bar is almost certainly erroneous, and it was d3 that was intended by Chopin from the very beginning. It is supported by:
What is more, the discussed note is written in A inaccurately, hence in GE1 (→EE) it was reproduced as e3. In GE2 (→GE3,FESB) it was changed to d3, which could have been one of the changes suggested by Chopin, if we were to assume that he took part in the editing of GE2. category imprint: Differences between sources issues: Terzverschreibung error , GE revisions , Errors in the number of ledger lines , Errors of A , Inaccurate note pitch in A , Authentic corrections of FE , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE |
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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 to the 3rd chord was also added (a was not necessary due to the wrong pitch of the topmost note). The remaining editions – FE, EE3 and GE3 – include all the necessary accidentals. 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. 265
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composition: Op. 2, Variations, complete
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In the entire G major section of Variation V (bars 263-268), the pedalling markings are written in A rather carefully; however, it can be seen that more attention was paid to keeping the marks on the same level than to their correct alignment. In particular, the marks in bar 265 are written before the bass D notes, as a result of which the preceding marks had to be written sufficiently earlier. It did not lead to a significant inaccuracy at the end of bar 264; however, on the 2nd beat of bar 265, the mark actually falls before the d-a-c1 quaver. Such an early pedal release could not have been intended by Chopin, since the and marks are written next to each other and almost certainly simply indicate a pedal change. category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in A , |
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b. 266
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composition: Op. 2, Variations, complete
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As in bar 265, the pedalling marks in the 1st half of the bar are inaccurately aligned in A – the first mark is written as early as under the chord on the 2nd quaver in the bar, while the next mark – directly behind it, still before the d1 crotchet in the top voice. However, as the 2nd, 3rd and 4th quavers in the bar are written very close to each other, one can guess that the inaccurate alignment resulted from lack of space; consequently, in the editions the notation was corrected in accordance with the analogous places and the pianistic sense. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in A |