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b. 376-377
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composition: Op. 2, Variations, complete
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The missing L.H. slur probably resulted from lack of space in GE1. It does not really matter, since Chopin himself would often write only one slur over parts of both hands written down together on one stave, considering it to be valid for both hands – cf., e.g. the Ballade in G minor, Op. 23, bars 1-5. category imprint: Differences between sources issues: Errors in GE |
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b. 376-377
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composition: Op. 2, Variations, complete
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In GE (→EE) the slur starting in bar 376, which ends a line, clearly suggests that it should be continued; however, there is no ending thereof in bar 377. In FE and FESB the slur was led only to the last semiquaver in bar 376, interpreting the notation of GE as an inaccurate ending of the slur. We interpret it similarly in the content transcription of GE and EE. category imprint: Graphic ambiguousness; Differences between sources |
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b. 376
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composition: Op. 2, Variations, complete
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When interpreted literally, the R.H. slur starts in A from the 4th semiquaver in the bar. It must be an inaccuracy (cf. the L.H. slur), probably caused by ink stoppage. It was already in GE1 that this situation was evaluated properly, hence in all editions the range of this slur is correct. category imprint: Differences between sources issues: Inaccurate slurs in A |
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b. 377
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composition: Op. 2, Variations, complete
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In AsI the last three staccato marks are dots, and not wedges, as the first three and as it is in the published version. The difference between the markings of the first and second half of the bar also concerns slurs – see the next note. All these markings are only in the R.H. part and only in this bar, hence it seems that Chopin was checking here what different variants of markings of this figuration look like. Having eventually opted for wedges and two-note slurs, he wrote them in A in the entire passage. category imprint: Differences between sources; Corrections & alterations issues: Wedges |
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b. 377
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composition: Op. 2, Variations, complete
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As was the case with staccato dots – see the previous note – the three-note slurs in the 2nd half of bar 377 are probably an attempt at finding the best way to mark articulation of the final passage of the Variations. Eventually, Chopin opted here for shorter slurs, but in a similar context in the finale of the Concerto in F minor, Op. 21, bars 506-510, he wrote slurs encompassing 3 notes. category imprint: Differences between sources; Corrections & alterations |
