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Op. 2, Variations, complete

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 345-346

composition: Op. 2, Variations, complete

Staccato dots in A

Wedges in GE (→FE,EE)
..

In both bars wedges instead of dots must have resulted from an ad hoc revision by the engraver of GE1, who unified these marks in the entire finale of the Variations.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 347-348

composition: Op. 2, Variations, complete

Wedges in b. 348 in AsI

Staccato dots in A

Wedges in GE (→FE,EE)
..

Wedges instead of dots over the octaves and the sequence of L.H. quavers played over the R.H. must have resulted from a revision by the engraver of GE1, who unified these marks in the entire finale of the Variations.
In AsI the marks are only in bar 348. It is uncertain which marks Chopin meant here – we assume that they are wedges.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 347

composition: Op. 2, Variations, complete

Short accents in A (→GE→FE,FESB)

Vertical accents in EE
..

As in bar 343, the type of accents was arbitrarily changed by the engraver of EE.

category imprint: Differences between sources

issues: EE revisions

b. 357

composition: Op. 2, Variations, complete

Short accents in A (→GE→FE,FESB)

Vertical accents in EE
..

As before (bars 343 and 347) the engraver of EE arbitrarily used vertical accents here.

category imprint: Differences between sources

issues: EE revisions

b. 359

composition: Op. 2, Variations, complete

No signs in sources

3  suggested by the editors
..

In the main text we suggest  hairpins under the L.H. motifs after three previous analogous bars 341, 345 and 355. Crescendos in such figures are one of the elements defining the shape of a motif, hence the absence of marks must be considered Chopin's oversight.

category imprint: Editorial revisions