mUltimate Chopin

Op. 2, Variations, complete

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b. 296

composition: Op. 2, Variations, complete

2 dots & wedge in A

3 wedges in GE1 (→GE2→FESB, →EE,FE1→FE2)

Wedge in GE3
..

The wedges in the editions must be an arbitrary decision of the engraver of GE (→FE,EE). The missing two marks on the 3rd beat of the bar are a mistake of GE3.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in GE , Wedges

b. 297-298

composition: Op. 2, Variations, complete

Slur from e3 & 2 wedges in AsI

Slur to f3 & wedge f3 in A

Slur to e3 & 2 wedges in GE (→FE,FESB)

Slur to e3 & wedge f3 in EE
..

The ending of the slur of A reaching f3 was most probably added later, replacing the previous markings, analogous to the two preceding figures (staccato dot and slur to the last semiquaver in bar 297). It is unclear why this distinct notation was not reproduced by GE (→FE,EE). Perhaps it was influenced by the layout, in which bar 298 opens a new line. Chopin's intervention seems highly unlikely here.
The absence of the wedge in EE is most probably an oversight.
The unclear entry in AsI may be a superimposition of two versions – an earlier one with two wedges (which, apart from a different kind of staccato mark, corresponds to the original A version) and a later one in which e3-f3 are slurred which corresponds to the ultimate A version.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , GE revisions

b. 297

composition: Op. 2, Variations, complete

Wedges in AsI & GE (→FE,EE)

Staccato dots in A
..

In the main text, we provide staccato dots inscribed in A. The wedges pencilled into #ApI are the first attempt at articulation marks here. On the other hand, the version of the editions must be the aftermath of the unjustified conviction of the engraver of GE1 that all staccato marks in the finale of the Variations are wedges.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 297

composition: Op. 2, Variations, complete

..

In the main text we omit the  to e1 in the 3rd semiquaver triplet, unnecessarily repeated in the sources. In A one can see that initially there was also a  in the 5th triplet, from which, however, it was removed. By contrast, we leave the reminder  to d2 in the 4th triplet, since d3, occurring a moment later, may raise doubts as to the sound of this note.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 297

composition: Op. 2, Variations, complete

No accents in AsI & FESB

Short accents in A (→GE→FE)

Vertical accents in EE
..

The lack of accents in AsI results from the working nature of this score. In FESB, they were probably overlooked.
Arbitrary changes of the font of accents are a characteristic feature of EE.

category imprint: Differences between sources

issues: EE revisions