Issues : Errors in GE

b. 142

composition: Op. 2, Variations, complete

..

In A the last fingering digit in the 1st half of the bar concerning the R.H. (over f2) is 3, whereas GE1 printed there a 2 (by mistake). The mistake was corrected in all editions based on GE1 – in GE2 (→GE3) and FE the digit 3 was restored, while in EE the erroneous digit was removed.

category imprint: Differences between sources

issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE

b. 180

composition: Op. 2, Variations, complete

 in A

 in GE (→FE,EE,FESB)

..

It is difficult to say whether the change in the direction of the dynamic hairpin under the second two-note motif was introduced intentionally by Chopin or the reviser of GE1, or whether it is the result of an engraver's mistake. The lack of visible traces of changes in the print rather indicates an adjustment or – what the editors believe is most likely – an error. The engraver could have made the quite common "mirror" error by simply inverting the sign (cf. e.g. Nocturne in D Op. 27 No. 2, b. 6), or perceived this and the previous sign to be a pair  , very common in music in general, and in these Variations in particular. Therefore, we leave in the main text the only undoubtedly authentic version of A.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Sign reversal

b. 182

composition: Op. 2, Variations, complete

2 quavers e1 in AsI, contextual interpretation

2 quavers e1 in AsI, contextual interpretation

Semiquaver, demisemiquaver & quaver e1 in AsI, alternative version of b. 182', contextual interpretation

Crotchet e1 in A (→GEEE,FESB)

e1 crotchet & demisemiquaver in FE, contextual interpretation

Completed FE version suggested by the editors

..

In the main text we give a version with e1 repeated at the end of the bar, introduced almost certainly by Chopin in the stage of proofreading FE. At the same time, we add a dot prolonging the a1 semiquaver, since the different values of the components of the a1-d2 fourth, neither musically nor pianistically justified, may be a result of inaccurately implemented proofreading corrections.
In GE1 (→EE) a dot prolonging the e1 crotchet played in the middle of the bar was added. The patent mistake was corrected by GE2 (→GE3,FESB), but not by FE.
In AsI, in b. 182' (the second record of this bar) there are two versions – the principal one, written in clear, normal-sized script, and the alternative one, superimposed on the previous one in a draft form.
A few authentic versions of this place show that Chopin changed his mind on the repetition of e1 in the 2nd half of the bar twice – in AsI (all versions) on the 4th quaver in the bar, in A without repetition, in FE at the end of the bar.
In the provided variants we also included the different values of the last two R.H. notes – semiquavers in AsI (version of b. 182), dotted rhythm in all the remaining versions.
There is a similar situation in b. 198.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE

b. 187

composition: Op. 2, Variations, complete

5 dots in A

10 wedges in GE (→FE,EE,FESB)

..

Both the use of wedges instead of dots and the provision of all demisemiquavers with them are results of a routine approach of the engraver of GE, who considered the notation of A to be inaccurate. It is noteworthy that Chopin used dots to emphasise the bass line. See also Var. IV, b. 208-211.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 193

composition: Op. 2, Variations, complete

in A

 in GE (→FE,FESB)

in EE

..

In GE (→FE,FESB) a  hairpin with a much shorter lower arm was erroneously interpreted as . In EE the marking was moved below the upper staff.

category imprint: Differences between sources

issues: Errors in GE