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Op. 2, Variations, complete

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b. 340

composition: Op. 2, Variations, complete

in A

cresc. in GE (→FE,EE)
..

The omission of the  hairpin in GE (→FE,EE) must have been a decision of the engraver of GE1, who considered the Chopinesque combination of a  and cresc. an unnecessary complication. The same in bar 342.

category imprint: Differences between sources

issues: GE revisions

b. 342

composition: Op. 2, Variations, complete

in A

cresc. in GE (→FE,EE)
..

category imprint: Differences between sources

issues: GE revisions

b. 342-343

composition: Op. 2, Variations, complete

Slur in b. 341-344 in AsI

Slurs in b. 341 & 343 in A (→GE→FESB,EE1→EE2)

3 slurs in b. 341-343 in FE & EE3

2 slurs, our alternative suggestion

Continuous slur, our other suggestion
..

The missing slur over bar 342 is most probably Chopin's oversight, which he corrected in FE. The suggested alternative solutions are modelled on the continuous slur in analogous bars 355-357, whereby in the first one we keep the whole-bar slur over bar 341, entered into A.
In AsI Chopin initially wrote a slur compliant with our second alternative suggestion and then prolonged it to end of bar 344.

category imprint: Differences between sources; Editorial revisions

issues: Authentic corrections of FE

b. 342

composition: Op. 2, Variations, complete

4 staccato dots in AsI

7 staccato dots in A

Wedges in GE (→FE,EE)
..

Wedges instead of staccato dots almost certainly resulted from an ad hoc revision of the engraver of GE1, who unified these marks in the entire finale of the Variations.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 342

composition: Op. 2, Variations, complete

No slur in AsI

Slur in A (→GE→FE,EE)
..

According to us, the slur in A (→GE→FE,EE) is an element of an earlier version of this place left by inattention or simply a mistake. This is supported by the following arguments:

  • problematic meaning of this slur, placed under the staccato dots – Chopin would often use dots under a slur to mark softly separated portato articulation, e.g. in bars 16, 32, at the end of bars 62 and 63 or in bars 259, 264 and 268; however, they are always between the notes and the slur. The notation used in this case rather points to the intention of replacing the slur with dots;
  • an individual nature of this slur – none of the three similar places (bars 346, 356 and 360) contain a slur;
  • the absence of a slur in AsI, although Chopin entered a number of various performance markings into this four-bar section, including a few in this bar (a R.H. slur, L.H. staccato, dynamic hairpins).

Due to these reasons, in the main text we omit this slur.

category imprint: Differences between sources; Editorial revisions

issues: Corrections in A , Errors resulting from corrections