Issues : Inaccuracies in A
b. 287
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composition: Op. 2, Variations, complete
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The top notes of the chords on the 2nd beat of the bar, d1-f1, are written down in A (→GE→FE,FESB) on the top stave, as a result of which they came within range of the R.H. part octave sign. If they were to be included by the octave sign, it would be impossible to perform them with the L.H., which is clearly indicated by the stems and the beam shared with the f-b fourths. The awkward notation most probably resulted from the initial version of this tutti, written down in AsI. The unequivocal version adopted to the main text was also introduced by EE. category imprint: Interpretations within context issues: EE revisions , Inaccuracies in A |
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b. 287-288
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composition: Op. 2, Variations, complete
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In AsI and A, accidentals were put only next to the top notes of the octaves – a to a in bar 287 and naturals to e3, e and a to g in bar 288. All necessary accidentals were already added by GE (→FE,EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 294
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composition: Op. 2, Variations, complete
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The absence of c1 in the last chord is most probably an oversight by the engraver of GE (→FE,EE) caused by the notation of A, which is not entirely clear. The presence of this note in AsI, however, is a strong argument for a similar interpretation of the notation of A. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A |
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b. 298-300
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composition: Op. 2, Variations, complete
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In R.H. figurations Chopin considers accidentals to be valid also in adjacent octaves. Therefore, in A there are no flats to the 9th, 12th and 15th semiquavers in bar 298 (a2, d3, g3), the 14th semiquaver in bar 299 (d3) and the 2nd and 18th semiquavers in bar 300 (d1, c1). All necessary flats were added already in GE (→FE,EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 304
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composition: Op. 2, Variations, complete
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In this bar, we consider the absence of the first out of two slurs present in previous two, analogous bars to be Chopin's inadvertence (the composer's distraction probably also impacted the mark). What is determined by this slur – the motif's structure and articulation – must be compliant with the previous bars, which excludes the possibility that the slur was omitted on purpose. Taking into account the above, in the main text we add a relevant slur. Cf. the notes in bar 300. category imprint: Editorial revisions issues: Inaccuracies in A |