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b. 266

composition: Op. 2, Variations, complete

..

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

b. 266

composition: Op. 2, Variations, complete

Signs & indications in A

Indications in GE (→FE)

Indications in EE
..

The omitted   marks seem to be a revision of GE (→FE,EE) aimed at simplifying the notation. In the main text we keep the combination of hairpins and verbal indications placed within the hairpins, typical of Chopin. There is a similar situation in bar 268.

category imprint: Differences between sources

issues: GE revisions

b. 266

composition: Op. 2, Variations, complete

Accent on 4th beat in A

No marks in GE (→FE,EE)

2 accents suggested by the editors
..

There is no reason why d1 on the 2nd beat of the bar should not be accented, as was the case with the analogous crotchets in the previous and next figures. Therefore, it is most probably Chopin's oversight in A. Admittedly, the accent is also absent in Af, but this is not an argument for intentional omission of the mark, since in this manuscript Chopin put accents only in the first three figures, in bars 263-264 (moreover, these three marks must be regarded as a pattern to be followed further on, which, paradoxically, is rather an argument for an accent). Due to the above, in the main text we add this accent. In the editions, the absence of an accent also on the 4th beat of the bar is almost certainly an oversight.
See also bar 268.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE

b. 266

composition: Op. 2, Variations, complete

accelerando in AsI

No indication in Af & A (→GE→FE,EE)
..

The term "accelerando" is used in #AI instead of dynamic indications. In the editors' opinion, this does not necessarily mean that Chopin did not anticipate dynamic nuances here when writing this score – see the note below. It can also be assumed that the lack of this instruction in the version prepared for publication does not mean giving up agogic freedom when playing this figure – the difference in markings is rather a result of the emphasis placed on a different aspect of execution. Therefore, we do not treat these indications as mutually exclusive.

category imprint: Differences between sources; Corrections & alterations

b. 266

composition: Op. 2, Variations, complete

..

The term legatiss. is not present in AsI, but in Af it is already marked on the 4th beat, between the staves. Chopin wrote leg[g]ierissi[mo] and leg there – the latter probably meaning legatiss. – which seem to have been replaced by probably later added dynamic cues, such as in A. The order in which the individual instructions were entered is not entirely certain, but leggieriss., which does not appear among the terms in the final version, has been clearly deleted.

category imprint: Corrections & alterations; Source & stylistic information