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Issues : FE revisions
b. 14
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composition: Op. 2, Variations, complete
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The b2 note, provided with a ten., is prolonged to a crotchet in A (→GE→FE,EE). It seems to be Chopin's mistake, since such a long value would have to be held also at the beginning of the 2nd half of the bar, which would certainly be a mistake. To avoid doubts, we change it to a quaver, almost exactly corresponding to its actual length. The fact that FESB omitted that extension could have resulted from that erroneous notation, with which the engraver did not know what to do. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , FE revisions |
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b. 25
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composition: Op. 2, Variations, complete
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The version of GE1 (→GE2,EE), featuring e category imprint: Differences between sources issues: EE revisions , Errors in GE , Authentic corrections of FE , FE revisions |
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b. 25-28
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composition: Op. 2, Variations, complete
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The range of the small slurs under the groups of grace notes differs in A; however, they must be accidental inaccuracies, getting bigger as similar marks repeat themselves. The first 4 slurs prove that Chopin almost certainly meant slurs reaching the respective main notes, and this is the interpretation we adopt to the main text. In the editions, the slurs encompassed only the grace notes; moreover, GE1 (→GE2) overlooked the second slur in b. 26 (which was added in the remaining editions). category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccurate slurs in A , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions |
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b. 39-40
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composition: Op. 2, Variations, complete
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As in b. 35-36, in A Chopin overlooked some necessary accidentals, mainly in b. 40 – a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A |
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b. 44
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composition: Op. 2, Variations, complete
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The notation of FE, with a demisemiquaver going beyond the 3rd note of the semiquaver triplet, is contrary to the Chopinesque understanding of such a combination of a dotted rhythm with a triplet – see the note on b. 45-46. category imprint: Differences between sources issues: FE revisions |