b. 14
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composition: Op. 2, Variations, complete
..
The traces of erasure visible in A reveal that Chopin initially inserted the mark under the bottom stave, more or less there where it is to be found in the editions. It can also be seen that the initial mark was longer, since it reached the first L.H. quaver. The corrected version of the mark was shortened and moved over the first chord. In this form, the mark is to be interpreted as a long accent, which we give in the main text. The engraver of GE (→FE1,EE) moved the mark, which he most certainly considered a diminuendo, under the stave, probably to avoid a contradiction with poco cresc. or simply due to lack of space over the stave (a hairpin on the stave is poorly visible; such a solution is applied only in exceptional cases). category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Long accents , Corrections in A , GE revisions |
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b. 14
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composition: Op. 2, Variations, complete
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The missing ten. must be an oversight or revision (the stem prolonging b2 was also overlooked/omitted). category imprint: Differences between sources issues: Errors in FE |
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b. 14
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composition: Op. 2, Variations, complete
..
In the main text we keep the ambiguous Chopinesque abbreviation leggier. We assume that the abbreviation most likely stands for the adverb leggier(a)mente, which Chopin used a few times in his other early works (cf., e.g. the Concerto in F minor, Op. 21, III mov., b. 81). Another possibility could be leggierissimo, which, Chopin, however, would abbreviate as leggieriss. – cf. b. 55 and 367. The word leggiero featured in EE almost certainly does not literally correspond to Chopin's intention but, practically, being synonymous with leggiermente, it can be considered an unequivocal version of the Chopinesque abbreviation. category imprint: Interpretations within context; Differences between sources issues: EE revisions |
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b. 14
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 14
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |