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Op. 12, Variations in B♭ major

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Rhythm

b. 10

composition: Op. 12, Variations in B♭ major

Wedges in FE

Staccato dots in GE

No marks in EE

Crotchets suggested by the editors
..

Taking into account the e and f minims in the preceding bar and the absence of pedal markings, we assume that the most likely scenario is that the FE engraver mistook the crotchet stems (pointing upwards) prolonging g and g for wedges. In the main text we also move the legato indication, in this context most probably meant to indicate "harmonic legato". GE replacing wedges by staccato dots is a part of revision, encompassing the entire Variations – see the note in bar 7. The missing marks in EE are due to an oversight or revision. 

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Errors in EE , GE revisions

b. 13

composition: Op. 12, Variations in B♭ major

Quaver g in FE (→GE,EE)

Additional crotchet suggested by editors
..

In the main text we suggest prolonging the sound of the g tone on the basis of the following analysis and the rhythmic values and articulation of the bass notes in bars 7-14. Chopin indicated that the bass notes should be extended in the following ways:

  • with pedal in bars 7-8 and 11-12 and on the last beat of bar 13; the respective quavers are then provided with wedges;
  • by prolonging the rhythmic values in bar 9 and 13-14.

There are two exceptions: bar 10, in which wedges without pedal probably resulted from a misinterpretation of [A], and the discussed place, which is devoid of both longer rhythmic values and pedal, which we consider an oversight, by Chopin or by the FE engraver.

category imprint: Editorial revisions

b. 17

composition: Op. 12, Variations in B♭ major

Dotted rhythm in FE (→EE)

Semiquavers in GE
..

The missing dotted rhythm in GE seems to be neither the engraver's mistake nor the edition's revision. Chopin probably introduced it into FE (→EE) after having sent the GE basis. Taking into account the fact that the authenticity of the GE version is highly likely, it can be regarded as a fully-fledged variant. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Dotted or even rhythm

b. 18

composition: Op. 12, Variations in B♭ major

Quaver & dotted crotchet in FE (→GE1)

Quaver in EE

Quaver & crotchet in GE2
..

It is difficult to say whether the EE version resulted from the engraver's mistake or whether Chopin added a crotchet stem and an augmentation dot to d1 in the last stage of proofreading FE (→GE1), yet this correction was not marked in the copy that served as the basis for EE.
The absence of the dot in the GE2 copy presented in our system is most probably due to a defect related to the change of the printing technique, from copperplate engraving to lithography.

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of FE

b. 18

composition: Op. 12, Variations in B♭ major

Crotchet in FE

Dotted crotchet in GE

Crotchet & dotted crotchet in EE
..

The crotchet a1 certainly belongs to the upper voice, so the lack of a dot in FE is an oversight. The line added in FEO (see note below) further proves that the solution adopted in EE, although formally correct, suggests an incorrect voice progression.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions