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b. 367

composition: Op. 2, Variations, complete

pédale de la basse in AsI

 after first quaver in A, literal reading

 under 2nd quaver in GE (→FE,EE,FESB)

 under 1st quaver suggested by the editors
..

The placement of the  mark in A does not allow us to reproduce Chopin's intention unequivocally. Statistically speaking, Chopin would write a  mark more often – especially in the case of low-placed bass notes – before the note it was supposed to concern than after such note, but his autographs include both situations. Therefore, we assume that in this case it is the pianistic context that is decisive – bass pedal notes belong to Chopin's favourite harmonic procedures, hence the doubled F1-F octave held with pedal seems to be more likely than the solution adopted by the editions. This conclusion is confirmed by the notation of AsI – the 'bass pedal' indication written under the semiquaver figuration undoubtedly refers to the reverberation of the initial octave, which in the orchestral part is sustained by the f note, played in bars 367-368 by the bassoon, while in bars 369-370 by the French horn. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: GE revisions , Inaccuracies in A

b. 367-368

composition: Op. 2, Variations, complete

..

In A a few necessary naturals restoring the right pitch to the previously altered notes are missing – to g2, c3, e3 in bar 367 and to c3 in bar 368. In GE1 (→FE,EE,GE2→FESB) only the second one was added, while in GE3 a third one was also added.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Errors of A

b. 367

composition: Op. 2, Variations, complete

in AsI

 in A (→GE→FE,EE)
..

The  mark in AsI suggests a clearly different dynamic concept of this place in the early phase of development of the piece's interpretation. However, it should be noted that it is accompanied by leggieramente, which seems to reduce this difference to a certain extent – see the next note.

category imprint: Differences between sources; Corrections & alterations

b. 367-370

composition: Op. 2, Variations, complete

leggieramente in AsI

legatiss. leggieriss. e dim. in b. 367-370 after A

legatiss. leggieriss. e dim. in b. 367-368 in GE (→FE,EE)
..

The version of AsI represents an earlier stage of development of interpreting indications concerning this place. In GE1 (→FE,EE,GE2→FESB) the range of diminuendo was shortened, probably wanting to avoid a situation in which this indication would be divided between the pages, since bars 369-370 already fall on a new page. This version was also repeated in GE3, although in this edition all 4 bars are on the same page, as in our transcriptions. In the main text we write the Chopinesque abbreviations leggieriss. and legatiss. in full, since it is enabled by the fact that our transcriptions are written less densely.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions

b. 368

composition: Op. 39, Scherzo in C♯ minor

Short accent in EE

Long accent in GC (→GE) & FE
..

Short accent in EE is most probably inaccurate notation - both GC and FE, however based on different manuscripts, show long accents here.

category imprint: Differences between sources; Source & stylistic information

issues: Long accents