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Op. 2, Variations, complete

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b. 181-191

composition: Op. 2, Variations, complete

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In AsI these bars are almost devoid of performance indications, on which we do not comment further on. The only marking is the slur over the e2-d2-c2 sequence in b. 191.

category imprint: Differences between sources

b. 181

composition: Op. 2, Variations, complete

No slur in A (→GE→FE,EE1→EE2)

Slur in EE3

Slur suggested by the editors
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In the main text, we propose adding a slur covering a pair of double stops at the transition of bars 180-181, b-a1 and e1-g1. The slur was also added in EE3.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 182

composition: Op. 2, Variations, complete

2 quavers e1 in AsI, contextual interpretation

2 quavers e1 in AsI, contextual interpretation

Semiquaver, demisemiquaver & quaver e1 in AsI, alternative version of b. 182', contextual interpretation

Crotchet e1 in A (→GE→EE,FESB)

e1 crotchet & demisemiquaver in FE, contextual interpretation

Completed FE version suggested by the editors
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In the main text we give a version with e1 repeated at the end of the bar, introduced almost certainly by Chopin in the stage of proofreading FE. At the same time, we add a dot prolonging the a1 semiquaver, since the different values of the components of the a1-d2 fourth, neither musically nor pianistically justified, may be a result of inaccurately implemented proofreading corrections.
In GE1 (→EE) a dot prolonging the e1 crotchet played in the middle of the bar was added. The patent mistake was corrected by GE2 (→GE3,FESB), but not by FE.
In AsI, in b. 182' (the second record of this bar) there are two versions – the principal one, written in clear, normal-sized script, and the alternative one, superimposed on the previous one in a draft form.
A few authentic versions of this place show that Chopin changed his mind on the repetition of e1 in the 2nd half of the bar twice – in AsI (all versions) on the 4th quaver in the bar, in A without repetition, in FE at the end of the bar.
In the provided variants we also included the different values of the last two R.H. notes – semiquavers in AsI (version of b. 182), dotted rhythm in all the remaining versions.
There is a similar situation in b. 198.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE

b. 182

composition: Op. 2, Variations, complete

in AsI, later version

No ornament in AsI (original notation) & A (→GE→FE,EE,FESB)
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In AsI the  mark and the grace notes indicating the ending of the trill were most probably added later the first time (b. 182). The interpretation of the second record (b. 182' – see b. 176-180) is more difficult; however, it seems that there was a  there, yet Chopin abandoned it in the layer of the latest, draft-like additions. As Chopin did not include this ornament in the final version, it is an example of the composer's hesitation, which ended in a return to the initial version. Cf. the previous bar.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 182

composition: Op. 2, Variations, complete

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In AsI there are two semiquavers at the end of the bar in the first record (b. 182), whereas the second one (b. 182') includes a dotted rhythm, compliant with the versions of the remaining sources. The respective variants are included in the note below.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Dotted or even rhythm