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Op. 12, Variations in B♭ major

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b. 143

composition: Op. 12, Variations in B♭ major

..

In the main text we omit the cautionary  to d1, present in all sources. Chopin probably inserted it due to d1 in the next bar, yet the change of mode had already been indicated by the change of g1 to g1, hence the notation of both bars should be clear.
Two notes later we also omit the unnecessarily repeated  to e1.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 144

composition: Op. 12, Variations in B♭ major

rall. - - till 6th quaver in FE

rall. in GE

No indication in EE

rall. - - - till end of bar suggested by the editors
..

The GE and EE versions most probably resulted from the engravers' inaccuracies or mistakes. According to us, the FE version is also inaccurate, even if it corresponds to the [A] notation, as it is hard to imagine that the absence of the last dashes could be indicating a sophisticated agogic nuance. Therefore, in the main text we suggest leading the dashes marking the range of the rallentando to the end of the bar, in accordance with the natural performance manner of figuration in this context.

category imprint: Differences between sources; Editorial revisions

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

b. 144

composition: Op. 12, Variations in B♭ major

..

In the main text we omit the naturals to e1 and a1 in the last sextuplet, unnecessarily repeated in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 145

composition: Op. 12, Variations in B♭ major

..

 in GE is most probably a mistake, perhaps consisting in copying this marking from bar 149, which in FE is at the beginning of the last line on a page, as is bar 145 in GE.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 145-146

composition: Op. 12, Variations in B♭ major

3  in FE (→GE)

2  &  in EE

  &  suggested by editors
..

Initially the 1st half of bar 146 was probably B-e1-f (as in the preceding bar). This is indicated by the rhythmic values () of the f notes on the last quaver in bar 145 and on the 2nd quaver in bar 146 and by the traces of corrections in print, visible in this place in FE. Chopin introduced the final version (which we provide) most probably to avoid two subsequent ninths (e1-f2 and f-g1) in combination with the R.H. However, he did not take care of changing the rhythmic values of the held f notes, hence we correct the notation of the sources to precisely write down the constant presence of the f notes, which are both the middle pedal note and an anchor point for the hand.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Authentic corrections of FE