mUltimate Chopin

Op. 2, Variations, complete

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b. 357-358

composition: Op. 2, Variations, complete

..

As before (bars 343-348) in both manuscripts Chopin used abbreviations to write down repeated R.H. triplets. In AsI he wrote all triplets except the first one in each bar in this manner, while in A all except the first two in bar 357 (most probably due to the slurs) and the first one in bar 358.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 359

composition: Op. 2, Variations, complete

B-b quaver in small script in A & FE

B-b quaver in regular script in AsI & GE (→EE,FESB)
..

As in bar 345, the engraver of GE (→EE,FESB) erroneously reproduced the B-b octave in a normal font, which requires it to be included in the solo part. Chopin restored the correct notation in FE.

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of FE

b. 359

composition: Op. 2, Variations, complete

No signs in sources

3  suggested by the editors
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In the main text we suggest  hairpins under the L.H. motifs after three previous analogous bars 341, 345 and 355. Crescendos in such figures are one of the elements defining the shape of a motif, hence the absence of marks must be considered Chopin's oversight.

category imprint: Editorial revisions

b. 360

composition: Op. 2, Variations, complete

No signs in sources

[ ] suggested by the editors
..

In the main text we suggest   marks after analogous bar 346. Chopin wrote similar pairs of marks also in bars 342 and 356. According to us, these pairs of hairpins, as emphasising the brilliant nature of the bravura passages, are to be considered an integral part of notation. 

category imprint: Editorial revisions

b. 361

composition: Op. 2, Variations, complete

in A

No  in GE (→FE,EE,FESB)
..

The omission of the  hairpin coupled with the cresc. indication was an arbitrary decision of the engraver of GE1.

category imprint: Differences between sources

issues: GE revisions