mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 198

composition: Op. 2, Variations, complete

G in AsI

F in Af &A (→GE→FE,EE,FESB)

F in GE3
..

As in b. 182, in the main text, based on the undoubtedly later version of Af and A (→GE→FE,EE,FESB), we add a cautionary  to the 8th demisemiquaver, F. The accidental was also added by GE3.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Accompaniment changes

b. 205-206

composition: Op. 2, Variations, complete

f-b in AsI & A (→GE→EE,FESB)

f1-b1, a1 in FE
..

We provide the version that Chopin enhanced while proofreading FE. Moving the horn motif an octave higher could have been aimed at avoiding a false relation: f in bar 205 with f1 at the beginning of bar 206. Moreover, the composer could have also wanted to avoid the clash – quite monotonous on the piano – with an identical motif ending the bassoon phrase.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Main-line changes

b. 207

composition: Op. 2, Variations, complete

Chords in AsI

Chords in A (→GE→EE,FESB)

Chord & octaves in FE
..

In the stage of proofreading FE, the ending of this tutti underwent a similar change as in the previous variation. Eventually, in the version for one piano, all four endings – of the Theme and the first three variations – were given a similar form, with a chord in a higher register (in open position) on the 2nd quaver and a doubled or tripled b root on the third one.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Bass register changes , Main-line changes

b. 260

composition: Op. 2, Variations, complete

No bass progression in AsI, Af & A (→GE→FESB,EE1→EE2)

D-d & C-c in FE & EE3
..

Chopin added the octave bass sequence in the 2nd half of the bar while proofreading FE1. This addition, undoubtedly drawn from FE, was also introduced into EE3. According to us, it is likely that the composer wanted this unquestionable improvement of the version for one piano to apply to the version of the piece with orchestra too (as a complement to the cellos and the double basses). A few years later, also exclusively in the version for one piano, Chopin introduced a change into the first tutti in mov. III of the Concerto in F minor, Op. 21. It is also there that we can assume that the changed text was supposed to concern the orchestral part also in the full version of the piece.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Authentic post-publication changes and variants

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)
..

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