Issues : GE revisions
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b. 182
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composition: Op. 2, Variations, complete
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In GE (→FE,EE,FESB) two poorly justified cautionary accidentals were added – a category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
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b. 182-183
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composition: Op. 2, Variations, complete
category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccurate slurs in A , GE revisions |
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b. 186
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composition: Op. 2, Variations, complete
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In this place, the fingering added by GE2 (→GE3,FESB) is compliant with Chopin's preference – cf., e.g. the fingering of the repeated notes entered into the pupils' copies of the Waltz in E category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 186-190
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composition: Op. 2, Variations, complete
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As was the case with b. 114-115, Chopin provided the repeated notes in b. 186 and 190 with staccato dots, and not with wedges, as it was reproduced by GE (→FE,EE,FESB). category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 187
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composition: Op. 2, Variations, complete
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Both the use of wedges instead of dots and the provision of all demisemiquavers with them are results of a routine approach of the engraver of GE, who considered the notation of A to be inaccurate. It is noteworthy that Chopin used dots to emphasise the bass line. See also Var. IV, b. 208-211. category imprint: Differences between sources issues: Errors in GE , GE revisions |
to f
, the 12th demisemiquaver, and a 
to F, the 14th demisemiquaver. The former is also in 
, Op. 18, b. 21-25. Therefore, it could be coming from him; however, for the reasons discussed in the characterisation of 
