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Op. 2, Variations, complete

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b. 183

composition: Op. 2, Variations, complete

..

As in AsI the repetition of b. 176-182 is not marked with a repeat sign but written out in full, there are still seven bars between b. 183(1v) and 183(2v) in this manuscript. The graphic and content transcriptions of these bars can be seen on an additional page, available via the below links:

transcript                    edited text

In the system transcriptions of AsI we indicate the omission of these bars with a small gap in this place.

category imprint: Differences between sources; Corrections & alterations

b. 184

composition: Op. 2, Variations, complete

 in AsI

 & grace notes in A (→GE→FE,EE,FESB)

 with  & grace notes suggested by the editors
..

In AsI the ornament, added probably later, is provided with a draft and not entirely clear form; however, it is most probably . Chopin would often use this mark in the sense of  (at times they are even difficult to tell apart). Therefore, the use of a different mark does not have to mean that Chopin envisaged a longer ornament.
Placing a  under the third in FE, which, formally speaking, changes its meaning, is a routine manner of the engravers, who would often move marks (concerning particular notes, but also slurs) to the side of noteheads (in the editions the stems of the notes in the 2nd half of the bar point upwards). Cf., e.g. the Polonaise in F minor, Op. 44, b. 10. The absence of this  in FESB is most probably an oversight.

None of the sources includes a mark that would specify the sound of the ornament's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with naturals. Omissions of accidentals in similar situations is a rule rather than an exception in Chopin's pieces – apparently, the composer believed that the sense of key would suggest the right note to the performer.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Errors in FE , Placement of markings , FE revisions , , Errors in FESB

b. 186

composition: Op. 2, Variations, complete

No fingering in AsI & A (→GE1→FE,EE)
..

In this place, the fingering added by GE2 (→GE3,FESB) is compliant with Chopin's preference – cf., e.g. the fingering of the repeated notes entered into the pupils' copies of the Waltz in E, Op. 18, b. 21-25. Therefore, it could be coming from him; however, for the reasons discussed in the characterisation of GE2, we do not give it in the main text.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 186-190

composition: Op. 2, Variations, complete

Staccato dots in A

Wedges in GE (→FE,EE,FESB)
..

As was the case with b. 114-115, Chopin provided the repeated notes in b. 186 and 190 with staccato dots, and not with wedges, as it was reproduced by GE (→FE,EE,FESB).

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 187

composition: Op. 2, Variations, complete

5 dots in A

10 wedges in GE (→FE,EE,FESB)
..

Both the use of wedges instead of dots and the provision of all demisemiquavers with them are results of a routine approach of the engraver of GE, who considered the notation of A to be inaccurate. It is noteworthy that Chopin used dots to emphasise the bass line. See also Var. IV, b. 208-211.

category imprint: Differences between sources

issues: Errors in GE , GE revisions