Op. 12, Variations in B♭ major

  b. 141

		in FE (→EE), literal reading
		in FE (possible interpretation→GE)
		earlier, contextual interpretation suggested by editors

The correct interpretation of the FE dynamic markings (→EE) requires a comprehensive analysis of the markings in the figurative ending of this variation. When interpreted literally, the  mark in bar 141 and the  mark in bar 144 are placed before the 4th and 6th demisemiquaver groups, respectively; they can be quasi literally interpreted as referring to these groups (as it was reproduced in GE). On the other hand, the  mark in bar 142 and the  mark in bar 143 are placed in the middle of the 2nd demisemiquaver group, which, when interpreted literally, is musically unfounded. Therefore, it is almost certainly an example of a manner of putting markings within their scope, and not at the beginning (as it is currently done), that is in the place from which they should be applied. Following this interpretation, these marks are to be applied to the beginning of the 2nd quaver in respective bars. It results in a logical and musically accurate picture of the dynamics used to emphasise the harmonic changes, in bar 142 from an F⁷ dominant seventh chord to the e subdominant (in the middle of the bar enriched with a c² sixth), and in bar 143 from F⁷ to F^9>. In this situation, it seems likely that the mark in bar 141 (by analogy with bar 142) is to be referred to the 2nd quaver in the bar, which would be an example of the described manner of putting marks within their scope, that is in the centre of an entire bar.
The position of the mark in bar 141 could also be explained by Chopin's mistake, following the below scenario, purely hypothetical. After the cresc. in bar 139, the dynamics in bars 141-142 within the range of  seemed natural, hence the first dynamic change marked by Chopin in this fragment was the evident dynamic change on the 2nd quaver in bar 143 (). It was only then that he considered necessary to define  in the preceding bars, so he went back to bar 142, where he wrote , as well, to emphasise the harmonic change, on the 2nd quaver. Eventually, he reached bar 141, where, however, he wrote  in the 2nd demisemiquaver sextuplet, and not on the 2nd quaver, confused by the situation in bar 142, in which this mark is in the 2nd sextuplet.
Due to the above, in the main text we put the  mark in bar 141 on the 2nd quaver in the bar.

Compare the passage in the sources »

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

notation: Verbal indications

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