mUltimate Chopin

Op. 2, Variations, complete

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b. 262-263

composition: Op. 2, Variations, complete

No markings under L.H. in Af & A
..

Wherever both hands move in parallel, Chopin very often considered markings written over the R.H. to be concerning both hands, particularly when both parts are written on one stave (cf., e.g. the Ballade in G minor, Op. 23, bars 1-5 and 251-256). Separate articulation markings for the L.H. in such contexts were one of the most frequently encountered editorial revisions. On the other hand, in the Variations Chopin himself wrote such markings a few times, e.g. at the beginning of Variation II (bars 135-137) and in the ending (bars 375-380). In this situation, being uncertain as to the authenticity of the dots and slur added in GE (→FE,EE), we do not include them in the main text.

category imprint: Differences between sources

issues: GE revisions

b. 262

composition: Op. 2, Variations, complete

on 4th beat in A & FESB

on 3rd beat in GE (→FE1,EE)
..

According to us, the placement of the  indication is an example of Chopin using here a convention of writing indications within and not at the beginning of the scope of their validity. Due to the above, in the main text we give preference to the version of GE (→FE1,EE). The version of FESB resulted from the engraver's inaccuracy, and its compliance with A must be accidental, since throughout the entire piece, no features of FESB suggest that this publisher could have had an insight into A. 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks , Inaccuracies in FESB

b. 263

composition: Op. 2, Variations, complete

8 ¯ ¯ ¯ in AsI, Af & GE (→FE,EE)

No 8 ¯ ¯ ¯ in A
..

Chopin's patent mistake in A is indicated by the presence of an octave sign both in the earlier manuscripts, AsI and Af, and in all editions. It is difficult to say whether the addition of this indication to GE1 came from Chopin, since in this context it could have seemed obvious.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A , Authentic corrections of GE

b. 263-265

composition: Op. 2, Variations, complete

..

In Af the L.H. rhythmic notation is more accurate in this entire fragment that starts here (until bar 267, the last one written in Af) – every half a bar, over each bass note, there is a quaver rest filling the top voice. The absence of those rests in A and the editions is a manifestation of the budding Chopinesque economy of notation, according to which rests the sole function of which is to fill the bar in one of the voices, are worth omitting for the sake of legibility if – as is the case here – it does not disrupt the understanding of the arrangement of voices and their rhythm. Cf. the note on bars 16-17 describing a situation in which a similar procedure turned out incomprehensible and misled the engravers.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

b. 264

composition: Op. 2, Variations, complete

..

In the main text we add cautionary naturals to the c2-c3 octave.

category imprint: Editorial revisions