Verbal indications
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b. 175-180
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composition: Op. 2, Variations, complete
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As was the case with the previous variations, In AsI variation III is practically devoid of performance markings – the only indication is the metronome tempo, compliant with the later sources. category imprint: Differences between sources; Source & stylistic information |
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b. 181-191
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composition: Op. 2, Variations, complete
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In AsI these bars are almost devoid of performance indications, on which we do not comment further on. The only marking is the slur over the e category imprint: Differences between sources |
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b. 191
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composition: Op. 2, Variations, complete
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It is from this bar that the preserved record of this variation begins in AF. There are no performance indications in this manuscript, on which we do not comment in the notes referring to the particular markings. category imprint: Differences between sources |
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b. 192-207
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composition: Op. 2, Variations, complete
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In AsI these bars are almost devoid of performance indications, on which we do not comment further on. The only markings are the two slurs over the semiquaver triplets in b. 204, which are not strictly performance indications; rather, they are part of the triplet markings. The solo part is also devoid of markings in Af. category imprint: Differences between sources |
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b. 208
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composition: Op. 2, Variations, complete
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In A the entire indication concerning articulation and dynamics is written in an abridged form in the upbeat – sempre stacc. e Taking into account the above, in the main text we write out the abbreviations in full and put the entire indication in a single line, in the upbeat and bar 1. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
2-d2-c2 sequence in 
. If we were to take into account its meaning, it is highly likely that such a position was driven by the lack of space between the staves (in addition, it cannot be ruled out that Chopin added sempre stacc. to