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Op. 12, Variations in B♭ major

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b. 141

composition: Op. 12, Variations in B♭ major

..

At the beginning of the 6th quaver in the bar, in FE one can see an f-e1 seventh. The comparison with an analogous figure at the end of bar 142, featuring a G-e sixth, points to a highly likely mistake. This is how it was assessed in GE and EE, replacing the seventh by a g-e1 sixth, which we include in the main text.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 141

composition: Op. 12, Variations in B♭ major

3 slurs in FE (→EE)

2 simultaneous slurs in GE

2 succesive slurs in EE

4 slurs suggested by editors
..

The coincidence of triplet and motivic slurs in FE prompted the revisers of the remaining editions to intervene (the GE version could have resulted from a mistake). In the main text we suggest adding a second motivic slur over the part of the figure performed by the R.H., keeping the triplet slurs, as an exception, which in this case help one navigate the rhythmic structure of the figuration, different from the division into hands.

category imprint: Differences between sources; Editorial revisions

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

b. 141

composition: Op. 12, Variations in B♭ major

 in FE (→EE), literal reading

 in FE (possible interpretation→GE)

 earlier, contextual interpretation suggested by editors
..

According to us, the position of the  mark in this bar is 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. In this case, the dynamic markings in bars 142-143, placed more precisely, show that the dynamic changes are to be related to the harmonic changes, on the 2nd quaver in the bar. Taking into account the above, in the main text we also put the discussed  mark under the 2nd quaver in the bar.

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

b. 141-142

composition: Op. 12, Variations in B♭ major

..

In the main text we add cautionary flats to a3 in bar 141 and to a2 in bar 142. We also add a  restoring a1 in the 2nd half of bar 142, omitted in the sources.

category imprint: Interpretations within context; Editorial revisions

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

b. 142-143

composition: Op. 12, Variations in B♭ major

 &  in FE (→GE,EE)

 &  suggested by editors
..

The position of the  mark in bar 142 in the middle of the 2nd demisemiquaver sextuplet is almost certainly inaccurate – see the note in bar 141. The same applies to the  mark in bar 143. In the main text we provide a contextual interpretation of both marks, which coincide with the structural division of the figuration – marked by, e.g. harmonic changes – into whole-bar sections, starting from the 2nd quaver of the bar. 

category imprint: Interpretations within context; Editorial revisions