mUltimate Chopin

Op. 2, Variations, complete

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b. 343

composition: Op. 2, Variations, complete

B-b quaver in small script in A & FE

B-b quaver in regular script in AsI & GE (→EE,FESB)

B-b quaver in small script & [m.s.] suggested by the editors
..

The version of GE (→EE,FESB) resulted from a mistake by the engraver of GE1, who did not notice that the B-b octave at the beginning of the bar is written in a smaller font, as belonging to the orchestral part. Chopin restored the correct notation in FE. In order to avoid a similar misunderstanding, in the main text we specify that the soloist is to perform the b2 quaver with the left hand to end the quaver sequence from the previous bar. (Hand crossing is not to be applied when performing the piece without accompaniment.)
The same in bar 359.

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of FE

b. 343-347

composition: Op. 2, Variations, complete

Short accents in AsI

 & short accents in A (→GE→FE,FESB)

 & vertical accents in EE
..

The version of AsI is the initial version of the markings, in this bar enhanced by Chopin, but in analogous bars used also in the published version. The change of accent type is a typical arbitrary decision of EE – a similar situation is to be found in bar 347.
In FESB the first  was placed too early, while the 3rd accent was overlooked. This is careless notation of the version of A (→GE→FE), which we do not consider an independent variant.

category imprint: Differences between sources

issues: EE revisions

b. 343

composition: Op. 2, Variations, complete

m.s. to third e2-g2 in A (→GE→EE)

No indication in FE

m.s. at beginning of bar in FESB
..

Both the absence of the m.s. indication in FE and it having been placed too early in FESB must be mistakes.

category imprint: Differences between sources

issues: Errors in FE , Errors in FESB

b. 343-348

composition: Op. 2, Variations, complete

..

In bars 343-344 and 347-348 in both manuscripts Chopin used abbreviations to write down the repeated R.H. triplets. In AsI he wrote all triplets (except the first one) this way in each bar. In A the notation is very similar – it is only in bar 343 that the first three triplets are written out with notes.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 345-346

composition: Op. 2, Variations, complete

Staccato dots in A

Wedges in GE (→FE,EE)
..

In both bars wedges instead of dots must have resulted from an ad hoc revision by the engraver of GE1, who unified these marks in the entire finale of the Variations.

category imprint: Differences between sources

issues: GE revisions , Wedges