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b. 208-211
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composition: Op. 2, Variations, complete
category imprint: Differences between sources issues: GE revisions |
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b. 208-227
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composition: Op. 2, Variations, complete
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After Variation III, in A there is an earlier version of Variation IV, based on a different textural idea:
After having written down the entire piece, Chopin deleted this variation (without its final tutti) and added its new, final version at the end of the manuscript; moreover, he precisely marked the places in which the added text should be inserted. AsI retains the version deleted in A in an even earlier form, in which certain fragments were being developed a few times.
we discuss separately the version abandoned by Chopin – see Variation IV, initial version. It is also there that the transcriptions – graphic and content – of the notation of AsI can be found. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 208
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composition: Op. 2, Variations, complete
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In A the entire indication concerning articulation and dynamics is written in an abridged form in the upbeat – sempre stacc. e Taking into account the above, in the main text we write out the abbreviations in full and put the entire indication in a single line, in the upbeat and bar 1. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 208-211
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composition: Op. 2, Variations, complete
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The addition of markings to the L.H. part seems justified and could be coming from Chopin as such. According to us, however, it does not mean that the dots entered into A should be changed to wedges – the markings added in a proof copy (perhaps by Chopin) were either misinterpreted or the person who added them (perhaps Chopin) used wedges to match the already printed wedges. Therefore, in the main text we include the added markings; however, we keep the differences between them modelled after the authentic markings in the R.H. part and in a certain sense confirmed by the L.H. dots in A in bar 208. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Wedges |
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b. 208
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composition: Op. 2, Variations, complete
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The authenticity of the fingering of GE2 cannot be entirely ruled out; however, a few combinations contrary to the Chopinesque fingering confirmed by other pieces are an argument against this possibility (see bars 55-58). In the case of the digits added in this variation, it is not the digits themselves but the selection of notes that are provided with them that could be questioned – the use of the 1-2 fingering combination on all dyads is as obvious as the use of the 5th finger on the even, top semiquavers, hence it is surprising that they were treated differently. The same objection could be raised in the second place in which the fingering was added – in bar 230. category imprint: Differences between sources issues: GE revisions |
. If we were to take into account its meaning, it is highly likely that such a position was driven by the lack of space between the staves (in addition, it cannot be ruled out that Chopin added sempre stacc. to 
