mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Errors in GE

b. 244

composition: Op. 2, Variations, complete

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In GE3 the  raising f2 to f2 in the first chord was overlooked.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE

b. 251

composition: Op. 2, Variations, complete

Slur in A

No slur in GE (→FE,EE)
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The absence of a slur in the editions is almost certainly a consequence of the omission by the engraver of GE1.

category imprint: Differences between sources

issues: Errors in GE

b. 255

composition: Op. 2, Variations, complete

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Both in the last L.H. chord and in the R.H. arpeggio on the 4th beat of the bar, neither AsI nor Af nor A (→GE1→FE,EE) contain accidentals before g/g notes in various octaves. Actually, harmonically speaking, g would be possible; however, in this context, it is much more likely that we are dealing with overlooked naturals:

  • after changing the key signature, Chopin was uncertain which were valid – this is proven by numerous unnecessary flats before d, g, a and even e and b in bars 255-259 in AsI; in A there is still a flat before B at the end of bar 255 and before g2 in bar 256;
  • diminished seventh chords belonged to young Chopin's favourite ones.

The decisive argument for g is provided by the orchestral part – there is a g note in the 2nd violins, and the violins could not play g here.

The first edition to add naturals was GE2 (→FESB), 4 accidentals in total raising g1 to g1 in the L.H. and g2, g1 and g to g2, g1 and g in the R.H. The overlooked  to the 2nd demisemiquaver (g3) was added by GE3, in which, however, the accidental to the penultimate demisemiquaver, g, was overlooked.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Last key signature sign

b. 262

composition: Op. 2, Variations, complete

Chord in AsI, FE & EE3

Supplemented FE version suggested by the editors

Chords & 'Violini' in Af

Chords &  in A

Solo part only in GE (→EE1→EE2, →FESB)
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The versions of Af and A, identical in terms of the way they sound, differ only in additions – an indication specifying the instrumental group in Af and a  in A. As was the case with the previous such insert between bars 261-262, this replica was left out by GE (→FESB,EE1→EE2). In this case, however, it is difficult to indicate the probable cause of why this edition diverts from the basis. The fact that this insert was restored to FE in the initial version proves that Chopin hesitated whether to recall a chord being the basis of the first three beats of the bar at the expense of blurring the shape of the solo part.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Errors in GE , Accompaniment changes , Authentic corrections of FE

b. 266

composition: Op. 2, Variations, complete

Accent on 4th beat in A

No marks in GE (→FE,EE)

2 accents suggested by the editors
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There is no reason why d1 on the 2nd beat of the bar should not be accented, as was the case with the analogous crotchets in the previous and next figures. Therefore, it is most probably Chopin's oversight in A. Admittedly, the accent is also absent in Af, but this is not an argument for intentional omission of the mark, since in this manuscript Chopin put accents only in the first three figures, in bars 263-264 (moreover, these three marks must be regarded as a pattern to be followed further on, which, paradoxically, is rather an argument for an accent). Due to the above, in the main text we add this accent. In the editions, the absence of an accent also on the 4th beat of the bar is almost certainly an oversight.
See also bar 268.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE