Articulation, Accents, Hairpins
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b. 216
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composition: Op. 2, Variations, complete
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Both dots visible in A over the first two R.H. semiquavers are quite far from the notes and clearly not in the same line (vertically speaking); therefore, one wonders whether they are not accidental spots. However, the dots are clear and regular, while the shifts with respect to the notes they probably concern are similar both in terms of distance and direction. Therefore, we assume that they are staccato dots with which Chopin indicated a slightly different type of articulation – most probably lighter – of the category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Errors in GE |
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b. 224
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composition: Op. 2, Variations, complete
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As with bar 216, the interpretation of the staccato markings in A is problematic, since the difference between the particular markings, so clear in bars 208-211 (wedges and dots), concerns only the size of the markings in this case – the dots over the 1st and 3rd semiquavers are clearly bigger than those over the 2nd and 4th ones. We consider it a consequence of carelessness and interpret it after the initial bars in this variation. In the main text we suggest adding respective markings in the L.H. part as well. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Wedges |
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b. 230
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composition: Op. 2, Variations, complete
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As with bar 224, it seems highly unlikely that the replacement of the four dots (emphasising in A the final melodic idea in this phrase) with wedges (reminding that the variation should be performed staccato) was introduced by GE1 under the influence of Chopin. In this edition this bar opens the page, which could have prompted the engraver (reviser?) to reinterpret the Chopinesque markings in such a way (markings that could be considered incomplete, cf. the adjacent note). The absence of wedges in the L.H. part in FESB is most probably the engraver's mistake. category imprint: Differences between sources issues: GE revisions , Wedges , |
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b. 240-254
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composition: Op. 2, Variations, complete category imprint: Differences between sources |
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b. 242-247
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composition: Op. 2, Variations, complete
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At the beginning of bars 242, 244 and 247 some – in bar 244 all – sources omit the wedges over the 1st L.H. octave. These are the engravers' mistakes or Chopin's oversight. We provide all 3 marks in the main text. category imprint: Differences between sources; Editorial revisions issues: Errors in FE , Errors in GE |
semiquavers. In the main text, for the sake of clarity, we suggest adding dots in the entire 1st half of the bar.
