mUltimate Chopin

Op. 2, Variations, complete

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Articulation, Accents, Hairpins

b. 315

composition: Op. 2, Variations, complete

2 staccato dots in A

Wedge in GE (→FE)

2 wedges in EE
..

In the main text we keep the two staccato dots visible in A over the f notes opening the semiquaver triplets. The fact that the first one was omitted in GE (→FE) most probably resulted from lack of space under the R.H. b semiquaver written on the bottom stave (in EE a wedge was added under this f). The second dot having been replaced by a wedge must have been an arbitrary decision of the engraver of GE1 – see bars 271-272.

category imprint: Differences between sources

issues: EE revisions , Errors in GE , GE revisions , Wedges

b. 315

composition: Op. 2, Variations, complete

Wedges to 2nd & 3rd octave in AsI

Dot & 2 wedges in A

Wedges to 1st & 3rd octave in GE1 (→GE2)

No marks in FE & EE

3 wedges in GE3
..

The three bass octaves are provided with staccato marks in A. Only the first one is a dot, which seems to be Chopin's inadvertence – it is supported by both the next two L.H. wedges and the R.H. wedges in these places. In this case, we consider the unification process carried out by GE to be justified and adopt it to the main text. The omission of the second mark in GE1 (→GE2) must have resulted from lack of space; the wedge was added in GE3. The easiest explanation for the fact that the versions of FE and EE are devoid of marks would be oversights.
The absence of the first staccato mark in AsI almost certainly resulted from an inaccurate nature of this working manuscript, in which performance indications appear only in some fragments (to a varying degree of intensity).

category imprint: Differences between sources

issues: Errors in FE , Errors in EE , Errors in GE , GE revisions

b. 317

composition: Op. 2, Variations, complete

2 staccato dots in A

2 wedges in GE (→FE,EE)
..

As so many times before, the dots having been reproduced as wedges resulted from the simplified interpretation of the notation of A by the engraver of GE1. In this case, it is very difficult to notice the second one, since it is overlapped by the cresc. indication.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Wedges , Inaccuracies in A

b. 317

composition: Op. 2, Variations, complete

2 wedges in A

Wedge in GE1 (→FE,EE,GE2→FESB)

No marks in GE3
..

Missing wedges result from oversights by the engravers of GE1 and GE3.

category imprint: Differences between sources

issues: Errors in GE

b. 318

composition: Op. 2, Variations, complete

      in A

   in GE (→FE,EE)
..

In the main text we reproduce the notation of A, emphasising, as it seems, the syncopated quavers in the top voice. The shifted marks in the editions are gathered around the beginnings of the even triplets, which could not have been Chopin's intention – marks of such range cannot concern the top voice, next to which they were written.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins