mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Errors in FE

b. 207

composition: Op. 2, Variations, complete

4 wedges on 2nd & 3rd quaver in A

4 wedges on 2nd & 3rd quaver after A

4 wedges after A & FE

5 wedges in GE (→EE)

5 wedges after GE (→EE)

5 wedges after GE (→EE)

Wedge on 2nd R.H. quaver and 3 L.H. wedges in FE

Wedge on 2nd R.H. quaver and 3 L.H. wedges after FE

2 L.H. wedges in FESB

2 L.H. wedges after FESB
..

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 ,

b. 242-247

composition: Op. 2, Variations, complete

Wedges in b. 242 & 247 in A (→GE1→EE,GE2→FESB)

Wedge in b. 247 in FE

Wedge in b. 242 in GE3

Wedges in b. 242, 244 & 247 suggested by the editors
..

At the beginning of bars 242, 244 and 247 some – in bar 244 all – sources omit the wedges over the 1st L.H. octave. These are the engravers' mistakes or Chopin's oversight. We provide all 3 marks in the main text.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Errors in GE

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. 267

composition: Op. 2, Variations, complete

Vertical accent in A (→GE→FE1,EE)

No mark in FESB
..

The missing vertical accent is probably an oversight by the engraver of FESB. See also the next two notes in this bar.

category imprint: Differences between sources

issues: Errors in FE

b. 267

composition: Op. 2, Variations, complete

Grace note in AsI & A (→GE→FE,EE)

No grace note in FESB
..

The missing grace note is probably an oversight by the engraver of FESB; in this bar, he also overlooked 2 accents.

category imprint: Differences between sources

issues: Errors in FE