mUltimate Chopin

Op. 2, Variations, complete

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b. 37-38

composition: Op. 2, Variations, complete

g1 tied in AsI & A

g1 repeated in GE (→FE,EE)
..

The missing ties to g1 in these bars could be easily considered oversights of the engraver of GE (→FE,EE), particularly since they are poorly visible in A. However, 4 bars later, in an analogous phrase, the respective ties to c2 are present neither in the editions nor in A, which makes us consider possible Chopinesque corrections to the discussed bars in GE1. According to us, it is also highly likely that even if the ties were overlooked, Chopin accepted repeated g1, resulting in an ability to shape more dynamic nuances in this fragment, of a clearly agitato nature. 

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of GE

b. 37

composition: Op. 2, Variations, complete

g-b-e1 in AsI & A (→GE→FE,EE)

e-g-b-e1 in FESB, contextual interpretation
..

category imprint: Differences between sources

issues: Terzverschreibung error , Partial corrections , Errors in FESB

b. 39-40

composition: Op. 2, Variations, complete

..

As in b. 35-36, in A Chopin overlooked some necessary accidentals, mainly in b. 40 – a  to d2 and a  to e2 in the R.H. and a  to e1 and a  to d2 in the L.H. (the use of accidentals in b. 39 is not fully codified due to the octave sign, as a result of which the  to e3 and the  to d2 could be considered superfluous). All necessary accidentals – subject to the situation described in the brackets above – were already added in GE1 (→FE1,EE,GE2→GE3). In EE a  to d2 before the 6th semiquaver in b. 39 was also added.
FESB repeated the accidentals of GE1; however, it was a  instead of a  that was placed to the 6th semiquaver in b. 39, which resulted in an erroneous e1 note; moreover, a  to d2 was added before the 8th semiquaver in this bar, which does not make sense – the accidental, if necessary at all, should be before the 6th semiquaver.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A

b. 39-40

composition: Op. 2, Variations, complete

4 wedges in A

8 wedges in GE (→FE,EE,FESB)
..

In the main text we include the staccato marks on the 4th beat of the bar, added in GE (→FE,EE,FESB). It is noteworthy that in A Chopin added the staccato indication after eight semiquavers, which suggests that he considered that the 4th beat of b. 39 (and most probably of b. 35 too), identical to the third one, would naturally "inherit" the articulation markings of the preceding one. Therefore, although the authenticity of the very marks is not entirely certain, the authenticity of the articulation they indicate absolutely is.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 39

composition: Op. 2, Variations, complete

in A (→GE→EE,FESB)

No sign in FE
..

In the main text we keep the  hairpin present in A (→GE→EE,FESB). It seems that an oversight of the engraver of FE1 (→FE2) is a more likely explanation for its absence than a possible removal of the mark by Chopin (which he could have done while proofreading FE1).

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE