Articulation, Accents, Hairpins
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b. 363
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composition: Op. 2, Variations, complete
category imprint: Differences between sources issues: Errors in GE |
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b. 363-364
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composition: Op. 2, Variations, complete
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AsI includes different dynamic indications here, describing an earlier concept, changed in the stage of writing A. We move the mark in bar 364 between the staves, since it certainly concerns both parts and was written over the top stave due to lack of space between the staves. In GE1 the hairpin was slightly widened or moved, generally adjusting it to individual beats. This notation was repeated in the remaining editions, in the case of FE with a mistake, while in the case of GE3 with a further shift. category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Scope of dynamic hairpins , GE revisions |
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b. 365-366
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composition: Op. 2, Variations, complete
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The change of dots to wedges is a revision of GE (→FE,EE,FESB), while the additional wedge in FE – a mistake. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 365-366
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composition: Op. 2, Variations, complete
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It is difficult to say whether Chopin consciously omitted the dynamic hairpins emphasising the line of this brilliant passage while writing A. Perhaps their omission should be linked to the change of category imprint: Differences between sources; Corrections & alterations |
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b. 370
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composition: Op. 2, Variations, complete
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The missing accent in GE (→FE,EE,FESB) is almost certainly a mistake by the engraver of GE1. It is evidenced by category imprint: Differences between sources issues: Errors in GE |
in 
to 
at the beginning of bar 365 – see the respective note. According to us, 
> in 