|
b. 276
|
composition: Op. 2, Variations, complete
..
The missing staccato markings in A must be considered Chopin's inadvertence – the marks are present in all similar situations. The wedges added by GE are most probably inauthentic; however, even if they had been added at Chopin's request, it would have been an ad hoc correction, adjusted to the unifying manner of the engraver of GE1. Due to the above, in the main text we suggest adding marks in accordance with the consistent rule visible in A – wedges only for the bass notes on the main beats of the bar. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Authentic corrections of GE |
||||||
|
b. 277
|
composition: Op. 2, Variations, complete
..
Neither AsI nor A (→GE→FE1,EE,FESB) include an accidental to the 7th semiquaver. The F major chord underlying this place is, however, thanks to the C7 chords present directly both before and after it, temporarily the tonic, which requires the use of e2, and not e category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE |
||||||
|
b. 278
|
composition: Op. 2, Variations, complete
..
In the main text we add cautionary accidentals: a category imprint: Differences between sources; Editorial revisions issues: EE revisions |
||||||
|
b. 279
|
composition: Op. 2, Variations, complete
..
Over the L.H. octave in A there is a staccato dot crossed through with a vertical line. According to us, it was most probably supposed to be a wedge with which Chopin wanted to replace the initial dot. However, in GE (→FE,EE) the correction was understood as a deletion of the mark, which, although possible, we consider less likely. category imprint: Differences between sources issues: Errors in GE |
||||||
|
b. 280
|
composition: Op. 2, Variations, complete
..
The missing lower slur must be an oversight by the engraver of GE1. Such multiple slurs were used by Chopin quite rarely, most often in his early pieces – cf. the combination of chords in bar 266 or 295-296, or pairs of octaves in the Concerto in F minor, Op. 21, mov. III, bars 472-480. category imprint: Differences between sources issues: Errors in GE |
2. This conclusion is also supported by bar 285 – in the orchestral version of this phrase all sources contain e2(3). The mistake, patent in this context, was, however, corrected only in the stage of proofreading 
to f2 and a 
to e
