mUltimate Chopin

Op. 2, Variations, complete

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b. 15

composition: Op. 2, Variations, complete

in A

 cresc. in GE (→FE,EE,FESB)
..

The shorter  hairpin in the editions must have been an arbitrary decision of the engraver; upon seeing a cresc. within a mark, he considered that doubling synonymous indications would be a problematic yet unnecessary complication to the notation.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 15

composition: Op. 2, Variations, complete

d2 in AsI

d2 in A (→GE→FE,EE,FESB)
..

Taking into account the three previous similar phrases in this bar and d2 in AsI, one could assume an oversight of a  in A. However, it seems more likely that Chopin consciously changed the pitch of this note:

  • Chopin would often omit accidentals to notes belonging to the current key; however, he would rarely overlook an accidental supposed to define the alteration (only a few times in his entire oeuvre);
  • Chopin did not correct the possible mistake while proofreading FE, despite the fact that he changed slurs in this very bar.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 15

composition: Op. 2, Variations, complete

Semiquavers & arpeggios in AsI

Groups of grace notes in A (→GE→FE,EE,FESB)
..

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 15

composition: Op. 2, Variations, complete

No sign in A (→GE→FE,FESB)

in EE
..

The lack of the  sign ​​​​​​ should be considered Chopin's inaccuracy in this context. The sign was added only in EE.

category imprint: Differences between sources

issues: EE revisions , No pedal release mark

b. 16-17

composition: Op. 2, Variations, complete

Crotchets after minims in AsI

Crotchets after minims in A (→GE→FESB)

Crotchets and minims together in FE & EE
..

Due to small gaps between the notes in GE1, the minims and the following dotted crotchets are written very close to each other; consequently, FE and EE interpreted it as a cue to combine the voices, which, in turn, led to the two notes being played simultaneously. In subsequent bars, a similar situation can be observed. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions