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b. 240-246

composition: Op. 2, Variations, complete

..

In AsI in these bars, there is no indication that the bass line should be doubled an octave lower. It is likely that it is not an earlier version but a simplified, incomplete record, hence we do not regard it as a full-fledged variant. In all the remaining sources, the bass line is led in octaves, generally written down with the use of con 8va starting:

  • from the 1st octave in bar 240 to the 1st octave in bar 246 in A,
  • from the 2nd octave in bar 240 to the end of bar 245 in the editions.

See also the adjacent note.

category imprint: Differences between sources

issues: Bass register changes , Abbreviated octaves' notation

b. 240

composition: Op. 2, Variations, complete

No indication in AsI

marcato from 1st quaver in A

marcato after first quaver in GE (→FE,EE,FESB)
..

The change in the placement of the marcato indication, introduced by GE1 and the remaining editions, does not seem to be accidental; however, its authenticity remains uncertain. Therefore, in the main text we give the version of A, considering the notation of GE (→FE,EE,FESB) an equal variant.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 240-254

composition: Op. 2, Variations, complete

..

category imprint: Differences between sources

b. 241-242

composition: Op. 43, Tarantella

..

In A due to the charred corner of the page the part beginning with b. 241 to the end of b. 242 is illegible. 

category imprint: Graphic ambiguousness; Differences between sources

b. 241

composition: Op. 39, Scherzo in C♯ minor

B1 in EE, GC (→GE) & FE

B2-B1 proposed by the editors
..

Lacking in the sources is the bottom note of the L.H. octave, B2. As the scale of Chopin's piano only reached down to C1, the addition seems more than justified. Cf. bar 491.

category imprint: Editorial revisions; Source & stylistic information

issues: Constraint from piano range