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Op. 12, Variations in B♭ major

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b. 82

composition: Op. 12, Variations in B♭ major

..

In FE (→GE) the stem of the bottom voice quaver is led as far as to g2. This illogical notation could have resulted from the misleading [A] notation – Chopin probably initially wrote the a1-g2 seventh using one-part writing and did not delete the fragment of the stem combining both notes after having added the bottom voice stem and flag. In the main text we include the undoubtedly accurate correction introduced by EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 83-84

composition: Op. 12, Variations in B♭ major

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The bass f at the beginning of each of these bars is an erroneous dotted minim in FE. In GE only the mistake in bar 84 was corrected, while in EE – only in bar 83.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

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

b. 83

composition: Op. 12, Variations in B♭ major

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In the main text, we include the cautionary  next to b added by GE.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 84

composition: Op. 12, Variations in B♭ major

No slur in FE (→GE,EE)

Slur suggested by the editors
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The missing slur over the L.H. top voice seems to be an oversight if we take into account the respective slurs in bars 81-83 and 85-86. Moreover, it cannot be excluded that the engraver (or Chopin in [A]) omitted the slur, as there was no place for it. Therefore, in the main text we suggest adding a slur to fill the gap.

category imprint: Editorial revisions

b. 84

composition: Op. 12, Variations in B♭ major

 in FE

No markings in GE & EE

[]   suggested by editors
..

The lonely  sign visible at the beginning of bar 85 in FE, devoid of the preceding  sign, was considered in GE and EE to be a mistake and omitted. However, it is more likely that the mistake consisted in omitting the  sign, which we add in the main text in the only place resulting in an effect in which the sounds of various registers overlap, creating one harmony (an effect typical of Chopin). At the same time, we move  to the end of bar 84, which does not change its meaning but enhances the clarity of markings.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , GE revisions