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Op. 12, Variations in B♭ major

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b. 74

composition: Op. 12, Variations in B♭ major

..

In the main text we add a cautionary  to e1. 

category imprint: Editorial revisions

b. 74

composition: Op. 12, Variations in B♭ major

Fingering written into FEO

No teaching fingering
..

The fingering digits – 1 over f2 and 3 over f – were almost certainly added by Chopin to FEO.

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Annotations in FEO

b. 75

composition: Op. 12, Variations in B♭ major

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In FE (→GE) we can see here "zf", which we change to the correct , as it was done in EE. We discuss in detail the issue of the Chopinesque notation of forzando and its variants in the sources in the note in bar 1.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE

b. 75-76

composition: Op. 12, Variations in B♭ major

Wedges in FE

Staccato dots in GE

No markings in EE
..

The two missing wedges in EE (b3 in bar 75 and d2-d3 in bar 76) must be due to oversight. In GE the two kinds of staccato markings present in FE (→EE), wedges and dots (which was very typical of Chopin in that period), were reduced to one kind – dots – in the entire Variations. On this page, we write about it in the note in bar 67.

category imprint: Differences between sources

issues: Errors in EE , GE revisions

b. 76

composition: Op. 12, Variations in B♭ major

e2-e3 repeated in FE, different interpretation
..

The FE notation is contradictory – the ties to the e2-e3 crotchet, even if they were to be considered slurs, interfere with the rest on the last quaver. It can be pointing to an unfinished correction from the version with a repeated octave (our alternative suggestion) to a tied octave (our main text), or the other way round. According to us, the first option is more likely – a tied octave rhythmically corresponds with the d2-d3 octave in bar 78, with Chopin changing the chord accompanying the tied melodic note in both cases. Therefore, this is the version we provide in the main text; it was also introduced by EE.

In FE (→GE) the e2-e3 octave is a crotchet, followed by a quaver rest. This is contradictory to the ties, prolonging it to the next bar. The mistake was corrected in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Errors repeated in GE