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b. 207
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composition: Op. 2, Variations, complete
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The additional wedge in GE is, according to the editors, most likely a mistake by the engraver of GE1 – there is no reason why Chopin's possible addition of marks should only apply to the L.H. In turn, omission of the last R.H. wedge in FE is probably a side effect of the correction of the pitch of this quaver – see the adjacent note. The absence of 3 out of 5 wedges in FESB is most likely the result of the carelessness of the engraver of this edition. In the main text we provide wedges according to A, taking into account Chopin's correction of the last quaver introduced in FE. category imprint: Differences between sources issues: Errors in FE , Errors resulting from corrections , GE revisions , Errors in FESB |
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b. 208-211
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composition: Op. 2, Variations, complete
category imprint: Differences between sources issues: GE revisions |
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b. 208-227
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composition: Op. 2, Variations, complete
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After Variation III, in A there is an earlier version of Variation IV, based on a different textural idea:
After having written down the entire piece, Chopin deleted this variation (without its final tutti) and added its new, final version at the end of the manuscript; moreover, he precisely marked the places in which the added text should be inserted. AsI retains the version deleted in A in an even earlier form, in which certain fragments were being developed a few times.
we discuss separately the version abandoned by Chopin – see Variation IV, initial version. It is also there that the transcriptions – graphic and content – of the notation of AsI can be found. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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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 |
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b. 208-211
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composition: Op. 2, Variations, complete
..
The addition of markings to the L.H. part seems justified and could be coming from Chopin as such. According to us, however, it does not mean that the dots entered into A should be changed to wedges – the markings added in a proof copy (perhaps by Chopin) were either misinterpreted or the person who added them (perhaps Chopin) used wedges to match the already printed wedges. Therefore, in the main text we include the added markings; however, we keep the differences between them modelled after the authentic markings in the R.H. part and in a certain sense confirmed by the L.H. dots in A in bar 208. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Wedges |
. 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 
