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b. 14
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composition: Op. 2, Variations, complete
..
In FE, the quaver beam of thirds on the 2nd beat was mistakenly omitted. category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 15
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composition: Op. 2, Variations, complete
..
The undoubtedly Chopinesque change of slurring introduced into FE1 was the last stage of specifying the rhythm and the articulation in this bar, hence we include it in the main text. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 15
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composition: Op. 2, Variations, complete
..
The division of the figuration is an evident improvement of notation, since it corresponds to the rhythmically well-determined melodic and harmonic structure of the figuration. According to us, the change of slurring introduced in the last stage of shaping the note image of this bar explains why Chopin initially wrote down this bar as one group – he did not want to indicate rhythmic divisions, since the divisions of motifs fall on other places. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 15
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composition: Op. 2, Variations, complete
..
The category imprint: Interpretations within context; Editorial revisions issues: Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 15
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composition: Op. 2, Variations, complete
..
The shorter category imprint: Differences between sources issues: Inaccuracies in GE |
restoring b
1 in the 2nd half of the bar is absent in all sources. It must be Chopin's mistake, one of his most frequent errors.
in 
cresc. in