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b. 256

composition: Op. 2, Variations, complete

No accidental in sources

 over trill suggested by the editors
..

In the main text we add a cautionary  over the trill. In spite of the fact that Chopin considered g notes in a diminished tetrad (on which the 2nd half of the previous bar is based) to be obvious (he did not put naturals to them), in this case he almost certainly did not mean g, which, coupled with an F major chord, would give an impression of temporarily departing from the key of B minor. Taking into account the fact that this key was introduced as a contrast and variety with respect to the previous variations, it is impossible that Chopin would have liked to relativise the tonal awareness. 

category imprint: Editorial revisions

b. 256

composition: Op. 2, Variations, complete

e notes in A, literal reading

E notes in AsI & A (contextual interpretation→GE→FE,EE)
..

In the entire passage Chopin did not insert any accidentals except the naturals to the 1st and 3rd notes (e and a). The necessity to raise subsequent a to a is beyond dispute; however, the use of e1, e2 and e3 would be harmonically and pianistically possible. Nevertheless, the majority of the arguments support the use of e1, e2 and e3:

  • in figurations based on repeating a certain figure in various octaves (most often arpeggios or scales), Chopin considered the accidentals put in the first figure to be valid in the entire sequence. He would mark possible exceptions with cautionary accidentals, e.g. the flats to b2 in bars 60 and 62. If he had heard e1 in the discussed passage, most probably he would have provided it with a ;
  • the above reasoning is partially confirmed by AsI, which has a  before the penultimate note of beat 1 (e3);
  • the harmonic context is based on an F major chord (without e seventh), which is confirmed both by the orchestral part and the piano chords (on the 3rd quaver and at the end of the bar). The e notes in the arpeggio would be regarded chord tones, giving an impression of a dominant seventh chord (F7). By contrast, we hear the altered e notes as non-chord tones, which contributes to the impression that the F major chord is regarded as the harmonic basis;
  • the naturals raising e1 to e1 and e2 to e2 were added in GE (→FE,EE) (the latter also influences e3; a third  was added only by GE3), even if inserted by the reviser, were not questioned by Chopin in the stage of proofreading FE1.

As far as the missing naturals to a1 and a2 are concerned, in GE1 (→FE1,GE2→FESB) it was only the one to a2 that was added, which was supplemented by EE and GE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of GE , Inaccuracies in A

b. 256

composition: Op. 2, Variations, complete

..

In the manuscripts there are no accidentals in the second triplet (on the 3rd beat of the bar). In the main text we include both added flats – perhaps by Chopin in GE (→FE,EE) – although it is only the  restoring a1 that is indispensable. Incidentally, also in the previous triplet, an octave higher, the  to g2 present in all sources is also of a cautionary nature.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Authentic corrections of GE , Last key signature sign

b. 256

composition: Op. 2, Variations, complete

Shorter slurs in Af

Various slurs in A

Longer slurs in GE (→FE,EE)
..

In the main text we reproduce the clearly written slurs of A, although it is uncertain whether by differentiating the range of these slurs Chopin really wanted to suggest a detail of articulation. Both remaining, unified versions of slurring can be regarded as equivalent variants. 

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 256-257

composition: Op. 49, Fantaisie in F minor

No signs in sources

Arpeggio signs suggested by the editors
..

As in analogous bars 172-173 and 176-177, in the main text we suggest adding arpeggio marks to the tenths on the basis of the arpeggios added by Chopin while proofreading FE1 in bars 85-86 and 89-90.

category imprint: Editorial revisions