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Op. 12, Variations in B♭ major

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Articulation, Accents, Hairpins

b. 7-13

composition: Op. 12, Variations in B♭ major

7 wedges in b. 7-13 in FE

7 dots in b. 7-13 in GE

6 wedges in b. 7-12 in EE
..

Two types of staccato markings, wedges and dots, present in FE (→EE), very typical of Chopin in that period, were reduced to dots in GE (in the entire Variations). According to us, it is unlikely that this change could have been encouraged by Chopin – it was rather the engraver: he made his task easier by using only one type of markings. Therefore, in the main text we keep the wedges present in FE; as the change concerns all wedges, we consider the GE dots together as one variant, on this page encompassing 7 marks in bars 7-8 and 11-13. The absence of the mark in bar 13 is most probably an oversight by the EE engraver.
See also bar 10 in which the FE wedges probably resulted from a misinterpretation of the Chopinesque manuscript.

category imprint: Differences between sources

issues: GE revisions , EE inaccuracies

b. 10

composition: Op. 12, Variations in B♭ major

Wedges in FE

Staccato dots in GE

No marks in EE

Crotchets suggested by the editors
..

Taking into account the e and f minims in the preceding bar and the absence of pedal markings, we assume that the most likely scenario is that the FE engraver mistook the crotchet stems (pointing upwards) prolonging g and g for wedges. In the main text we also move the legato indication, in this context most probably meant to indicate "harmonic legato". GE replacing wedges by staccato dots is a part of revision, encompassing the entire Variations – see the note in bar 7. The missing marks in EE are due to an oversight or revision. 

category imprint: Differences between sources; Editorial revisions

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

b. 20-28

composition: Op. 12, Variations in B♭ major

Wedges in FE (→EE)

Staccato dots in GE
..

Most of the wedges present in FE (→EE) were changed to staccato dots in GE – see the note in bar 7. As the change concerns all wedges included in GE, we consider the version of this edition as one variant, on this page encompassing 14 marks in bars 20-21, 23 (f2) and 26-28. Omitted marks in all or some editions are discussed separately – see bar 23, 25 and 26.

category imprint: Differences between sources

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

b. 23

composition: Op. 12, Variations in B♭ major

Wedge to a2 in FE

No marks in GE

2 wedges in EE

2 wedges suggested by editors
..

In the main text we suggest adding a wedge over f3. The next two such marks indicate the way the notes ending particular semiquaver groups should be played, both in this and the next bar, hence the omission of a respective mark over the first note of this kind must be considered an inaccuracy of notation. A wedge was also added in EE, whereas in GE the second mark was also overlooked, over a2.

category imprint: Differences between sources; Editorial revisions

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

b. 25

composition: Op. 12, Variations in B♭ major

Wedge in FE

Staccato dot in GE

No markings in EE
..

The missing mark in EE is most probably an oversight. By contrast, the change of the wedge to a staccato dot in GE resulted from general revision carried out in this edition – see the note in bar 7.

category imprint: Differences between sources

issues: Errors in EE , GE revisions