Issues : Omission of current key accidentals
b. 30
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composition: Op. 2, Variations, complete
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According to the editors, the lack of a tie to g3 in #ApI may just be Chopin's oversight (the missing before this crotchet is definitely an error). category imprint: Interpretations within context; Differences between sources |
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b. 59-61
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composition: Op. 2, Variations, complete category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 62
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composition: Op. 2, Variations, complete
category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Cautionary accidentals , Omission of current key accidentals , Rhythmic errors |
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b. 80-84
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composition: Op. 2, Variations, complete
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In the sources there are no naturals specifying the sound of the top note of the mordents. However, the phrase is clearly kept in the key of F major, which is indicated by the arrangement of the individual chords within the four-bar section. The fact that it is also here that Chopin heard the key of F major and not of B major is proven by the e2 notes present in the figuration in b. 112-113 (116-117), particularly in the melody by the end of b. 188. Omission of accidentals specifying the sound of secondary mordent, trill or grupetto notes was rather a rule than an exception in the Chopinesque notation. category imprint: Editorial revisions |
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b. 137-138
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composition: Op. 2, Variations, complete
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In AsI the accidentals restoring c1 and b at the end of b. 137 are missing; the raising e1 to e1 in b. 138 is absent too. A similar situation occurs in the L.H. part, which is marked in an abridged manner as doubling in unison the R.H. part. In A and the editions the notation is correct. category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Omission of current key accidentals |