mUltimate Chopin

Op. 2, Variations, complete

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b. 265

composition: Op. 2, Variations, complete

in A

in GE1 (→GE2)

 in FE1, EE & GE3

in FESB
..

The  hairpin is written in A between the staves and begins after the 1st R.H. chord (in Af the bottom arm starts as early as at the beginning of the bar). In GE (→FE,EE) the mark was moved to over the R.H. part, which, in this case, does not significantly influence its meaning. The change was most probably forced by lack of space between the staves; it cannot come from Chopin. The slight change of range in GE1 (→GE2) – the beginning of the mark was moved slightly to the right – was intensified by all subsequent editions, while FESB additionally reversed the direction of the mark, which is a frequent mistake in the first editions of Chopin's pieces. 

category imprint: Differences between sources

issues: Errors in FE , Inaccuracies in GE , Inaccuracies in FE , Placement of markings , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Sign reversal

b. 265

composition: Op. 2, Variations, complete

..

In AsI, Af and A (→GE1→EE1→EE2) there is no  lowering c2 to c2. Chopin's patent oversight was corrected by FE1, GE2 (→GE3,FESB) and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of FE , FE revisions

b. 265

composition: Op. 2, Variations, complete

..

In the entire G major section of Variation V (bars 263-268), the pedalling markings are written in A rather carefully; however, it can be seen that more attention was paid to keeping the marks on the same level than to their correct alignment. In particular, the  marks in bar 265 are written before the bass D notes, as a result of which the preceding  marks had to be written sufficiently earlier. It did not lead to a significant inaccuracy at the end of bar 264; however, on the 2nd beat of bar 265, the  mark actually falls before the d-a-c1 quaver. Such an early pedal release could not have been intended by Chopin, since the  and  marks are written next to each other and almost certainly simply indicate a pedal change.
The notation of the editions is similar to the notation of A; however, it is less confusing due to different proportions of gaps between the notes and due to the size of the marks.
FESB overlooked the  sign on the 2nd beat.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Inaccuracies in A , Errors in FESB

b. 266

composition: Op. 2, Variations, complete

..

None of the sources contains a  restoring a2, which is Chopin's patent oversight.

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

b. 266

composition: Op. 2, Variations, complete

..

The flat to c4 is present only in EE and GE3. Its absence is not a mistake in this case, since back then there was a commonly used notation convention according to which the accidentals were also valid for the notes encompassed with an octave sign.

category imprint: Differences between sources

issues: Accidentals in different octaves