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b. 266

composition: Op. 2, Variations, complete

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None of the sources contains a  restoring a2, which is Chopin's patent oversight.

category imprint: Interpretations within context; Editorial revisions

issues: Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 266

composition: Op. 2, Variations, complete

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The flat to c4 is present only in EE and GE3. Its absence is not a mistake in this case, since back then there was a commonly used notation convention according to which the accidentals were also valid for the notes encompassed with an octave sign.

category imprint: Differences between sources

issues: Accidentals in different octaves

b. 266

composition: Op. 2, Variations, complete

Arpeggio signs in Af

No signs in A (→GE→FE,EE)
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In the main text we include the arpeggio wavy lines entered into Af. Their absence in A and all the editions seems to be a patent oversight, considering the span of the chords and the arpeggios in the preceding bar.

category imprint: Differences between sources

issues: Errors of A

b. 266

composition: Op. 2, Variations, complete

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As in bar 265, the pedalling marks in the 1st half of the bar are inaccurately aligned in A – the first  mark is written as early as under the chord on the 2nd quaver in the bar, while the next  mark – directly behind it, still before the d1 crotchet in the top voice. However, as the 2nd, 3rd and 4th quavers in the bar are written very close to each other, one can guess that the inaccurate alignment resulted from lack of space; consequently, in the editions the notation was corrected in accordance with the analogous places and the pianistic sense.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Inaccuracies in A

b. 266

composition: Op. 2, Variations, complete

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Strictly speaking, the R.H. figuration, in which 12 notes fall on one quaver, should be written in hemidemisemiquavers. However, in the main text we keep the version of the sources, since Chopin would write down irregular groups of notes encompassing a dozen or so notes in this way, hence in twice as long rhythmic values, also in other pieces, cf., e.g. the Prelude in D, Op. 28 No. 15, bar 4.

category imprint: Interpretations within context; Source & stylistic information