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Op. 12, Variations in B♭ major

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b. 109

composition: Op. 12, Variations in B♭ major

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In FE the  restoring f2 in the 2nd half of the bar is missing. The patent mistake was corrected both in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions

b. 110

composition: Op. 12, Variations in B♭ major

e2-b2-b2 & e2-b2-c3 in FE (→EE), contextual interpretation

e2-b2 & e2-b2-c3 in GE
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In this place corrections were being made, both in FE and GE, most probably from the following version: , which probably originated from the FE engraver having misinterpreted the following [A] notation:  (similar issues concerning the reproduction of the Chopinesque notation of an augmented prime – see the Ballade in G minor, Op. 23, bar 170). In the FE (→EE) version, undoubtedly authentic, the wrong order of the b2 and b2 notes in the 1st chord makes the middle note of the 2nd chord an erroneous b2. Therefore, in the main text we switch these notes; moreover, we introduce the contemporary version of notation of an augmented prime. The GE version, which can be attributed to both Chopin and the reviser, can be considered a potentially authentic variant.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Errors in FE , GE revisions , Authentic corrections of FE , Authentic corrections of GE , Errors repeated in EE

b. 114

composition: Op. 12, Variations in B♭ major

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In FE1 (→GE1,EE) there is a g1-d2 fifth on the 5th quaver in the bar. Chopin corrected it to a g1-c2 fourth in FEO; a similar correction was also introduced by GE2.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in FE , GE revisions , Annotations in FEO , Errors repeated in GE , Errors repeated in EE

b. 117

composition: Op. 12, Variations in B♭ major

=43 in FE (→GE)

No metronome indication in EE

=42 suggested by the editors
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In the sources the metronome marking reads =43. It must be a mistake, since the Maelzel metronome does not show this value. Assuming that only one digit is wrong, in the main text we suggest the closest number accessible to the users of traditional metronomes. We choose 42, and not 44, since confusing one of two identical digits is much less likely. Theoretically speaking, one could think of other numbers meeting the above criteria, e.g. 48 or 63, but it is already the first one that can hardly be considered a slow tempo. 

category imprint: Interpretations within context; Editorial revisions

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

b. 121-128

composition: Op. 12, Variations in B♭ major

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The change of wedges to staccato dots in GE resulted from general revision by this publisher – see the note in bar 7. However, the same change in EE can be puzzling, as EE generally kept the wedges printed in FE. According to us, it is an arbitrary revision inspired by the dot at the beginning of bar 121. The reviser also modified slurs – see the preceding note. See also bar 140.

category imprint: Differences between sources

issues: Errors in EE , GE revisions