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Issues : GE revisions
b. 11
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composition: Op. 2, Variations, complete
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In the main text we add a cautionary category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Inaccuracies in A |
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b. 14
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composition: Op. 2, Variations, complete
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It is difficult to evaluate the authenticity of the version of GE (→FE,EE), featuring only one R.H. slur in this bar. The longer slur of A, not included in the editions, does not seem to be a part of an irregular group marking, since it goes beyond it, to the c3-c4 octave. Therefore, it should be assumed that it concerns phrasing/articulation; when omitted, it impacts the articulation of the last five demisemiquavers, particularly if we take into account the change of dots to wedges, also performed in GE. On the other hand, upon seeing GE, Chopin could have considered one slur to be enough and the markings as a whole to be acceptable. In this situation, we regard both sets of markings (dots under a slur or wedges) as more or less equal, keeping in the main text the version of the principal source, i.e. A. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Revisions in FESB |
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b. 14
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composition: Op. 2, Variations, complete
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In A, there are no naturals to the b2 and b3 demisemiquavers. The latter was already corrected in GE (→FE,EE). In the case of b2, the missing category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 14
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composition: Op. 2, Variations, complete
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The traces of erasure visible in A reveal that Chopin initially inserted the category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Long accents , Corrections in A , GE revisions |
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b. 16-17
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composition: Op. 2, Variations, complete
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Due to small gaps between the notes in GE1, the minims and the following dotted crotchets are written very close to each other; consequently, FE and EE interpreted it as a cue to combine the voices, which, in turn, led to the two notes being played simultaneously. In subsequent bars, a similar situation can be observed. category imprint: Corrections & alterations; Source & stylistic information issues: Errors in GE , GE revisions |