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b. 37
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composition: Op. 12, Variations in B♭ major
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In this kind of texture, in which the parts of both hands move in parallel or at least in the same rhythm (as in bars 37-38), Chopin would often settle for a slur over the top voice; however, he would also use double slurs quite frequently (cf., e.g. the middle fragment of the Larghetto from the Concerto in F minor, Op. 21, in which only some phrases are provided with single slurs, e.g. from bar 57). Taking into account the possibility that we could be dealing here with authentic GE proofreading, in the main text we suggest a slur in brackets. The slur added in EE must be due to revision, often encountered in similar situations. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , GE revisions , Authentic corrections of GE |
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b. 39
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composition: Op. 12, Variations in B♭ major
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The missing augmentation dot to the second d crotchet in FE (→EE) is most probably a mistake, corrected in GE (in the original opera score this d is a dotted minim). We also introduce a dotted minim into the main text, as it is simpler and clearer. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Errors in FE , GE revisions |
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b. 41
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composition: Op. 12, Variations in B♭ major
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Two kinds of staccato markings present in FE (→EE), wedges and dots, very typical of Chopin in that period, were reduced by GE to one kind in the entire Variations – dots. This is what occurred in this bar: the wedge under the d1-f1 third in FE (→EE) was changed to a staccato dot in GE. category imprint: Differences between sources issues: GE revisions |
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b. 49
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composition: Op. 12, Variations in B♭ major
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The f1 note at the beginning of the bar is a dotted crotchet in FE. This augmentation dot is practically meaningless, since f1 is repeated on the 3rd quaver. Therefore, it is probably a mistake or a trace of the initial version, without repeating f1 on the 3rd quaver. In this situation, in the main text we include the change introduced by GE and EE, in which the dot was omitted. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 49
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composition: Op. 12, Variations in B♭ major
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In FE the category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals |
& 
in 
suggested by the editors
raising e
2 to e2 is missing. The patent mistake – e2 is featured in the opera's original theme – was corrected both in