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b. 64-84
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composition: Op. 2, Variations, complete
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In the main text we keep the unbeamed notation of the L.H. quavers, consistently used by Chopin both in AsI and A. Wherever an entire bar includes only such quavers (unbeamed), in GE (→FE,EE,FESB) the quavers were beamed in twos or fours. This was probably aimed at facilitating the engraving by reducing the number of elements of notation. Such changes in beaming are also in the R.H. as well as in further variations. We comment on them and reproduce them only in cases where a significant number of changes impacts the general graphic representation of the text – see Variation IV. category imprint: Differences between sources issues: GE revisions |
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b. 67-75
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composition: Op. 2, Variations, complete
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In the main text we add cautionary flats to e category imprint: Editorial revisions |
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b. 69
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composition: Op. 2, Variations, complete
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The version of GE2 (→GE3,FESB) with E and e in the 2nd half of the bar is almost certainly an arbitrary revision, introduced probably by analogy with b. 65. The version is contrary not only to AsI and A (→GE1→FE,EE), but also to the Mozartian original. Cf. also two respective fragments of the 2nd variation and the finale (b. 141 and 280-281). category imprint: Differences between sources issues: GE revisions |
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b. 69
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composition: Op. 2, Variations, complete
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Chopin erroneously wrote the syncopated c2 note on the 2nd quaver in the bar as a double dotted crotchet. The mistake was only noticed by FESB, which tried to amend it by replacing the dots with a semiquaver, connected to the crotchet by a tie (in this place there is actually no tie, but this must have been the reviser's intention, which is proven by the ties in analogous situations in b. 77 and 89). Rhythmically speaking, the notation is correct; however, it is unclear due to the arrangement of the notes – the added semiquaver was placed not over the last quaver in the bottom voice, but right next to the crotchet. In the main text we suggest the same rhythmic values yet correctly arranged and beamed. Chopin used a similar notation in the Prelude in C category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 70
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composition: Op. 2, Variations, complete
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The flat restoring e category imprint: Interpretations within context issues: Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
2 in b. 67 and 75. The accidentals were also added in 
minor, Op. 45,