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b. 2

composition: Op. 2, Variations, complete

..

In the sources, there is no  restoring d1 on the 4th beat of the bar. The mistake resulted from the way the piano reduction was prepared – the R.H. top voice corresponds to the Violin II part, in which there is no need for a , since it does not feature a d1.

category imprint: Editorial revisions

issues: Omissions to cancel alteration , Errors of A

b. 2-14

composition: Op. 63 No. 1, Mazurka in B major

Staccato dots in AI

No dots in FE (→GE,→EE)
..

category imprint: Differences between sources; Corrections & alterations

b. 2-12

composition: Op. 30 No. 1, Mazurka in C minor

2 staccato dots in b. 10 in FC (→GE1)

22 dots in FE (→EE)

24 dots in GE2
..

The staccato dots in bars 2-4 and 10-12 were most probably added by Chopin in the stage of proofreading FE (→EE); other possibilities are them having been entered by Chopin into [A] after FC had already been finished, or them having been overlooked by Fontana, or a combination of two or even three of these factors. The absence of marks for the R.H. in bar 2 in FE (→EE) must be considered Chopin's inadvertence or a mistake by the engraver of FE. In the main text we include the dots of FE together with the two overlooked ones in bar 2. This version is also in GE2, perhaps on the basis of FE.
See also bars 38-48.

category imprint: Differences between sources; Editorial revisions

issues: Authentic corrections of FE

b. 2

composition: Op. 63 No. 2, Mazurka in F minor

a-c1-f1 triad in As

a-f1 sixth in FE (→GE,EE)
..

The triad in the original version in As, identical to the version of the analogous bar 10, was replaced by a sixth in the published version. Chopin seems to have strived to concentrate expression, i.a. through stricter control of the voices – cf. e.g. bar 25.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 2-6

composition: Op. 2, Variation IV, primitive version

Arpeggios from g1 in AsI

Arpeggios from b1, c2 & b1 in A
..

As in bars 1 and 5, in AsI the R.H. hemidemisemiquaver passages are not moved in parallel with the melody semiquavers. This is the initial version, subsequently simplified by reducing the number of large leaps.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes