mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 313-314

composition: Op. 2, Variations, complete

3 fingering digits in AsI

4 fingering digits in A

3 digits in GE (→EE,FE1→FE2)

No fingering in FESB
..

This note concerns the 4 fingering digits at the end of bar 313 and on the 1st beat of bar 314, whose interpretation in the principal sources does not raise any difficulties – excluding the digit over the 1st semiquaver in bar 314, which we discuss separately.
In AsI the fingering starts from the beginning of bar 314, whereby the first 2 digits were crossed out. The digits over e2 and d2 were altered and are poorly legible; however, Chopin most probably opted for 4-5, as it is in the remaining sources.
The missing '1' digit in the sources could have been caused by its smaller size in A, as a result of which it looks like an insignificant spot. The fact that FESB does not include any fingering digit in the R.H. most probably resulted from the engraver's inattention.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Inaccuracies in A ,

b. 314

composition: Op. 21, Concerto in F minor, Mvt I

..

In A there is no  lowering g1 to g1. The patent oversight was corrected in GE1 (→FE→EE, →GE2).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 314

composition: Op. 2, Variations, complete

No fingering in AsI & FESB

5 w A (literal reading→GE1→GE2,FE,EE)

3 in A (possible interpretation) & GE3
..

The fingering digit written in A could be interpreted twofold: as a '5', which is more graphically likely, or as a '3', which seems more natural, pianistically speaking. The source of the problem was the will to fit in the digit (apparently added later) under the word loco, ending the octave sign, which forced Chopin to write this digit almost horizontally; consequently, the resulting unnatural shape hampers the identification. The majority of the sources include a '5', whereas in the main text, we suggest a '3', due to practical reasons; it was also GE3 that considered this digit to be right. Such a solution is also supported by AsI, in which one can see deleted digits over the first two notes in the bar, most probably 5-4. In FESB both this digit and the adjacent ones were most probably overlooked (see the previous note).

The digit '3' added in pencil in our copy of GE2 is of no source value.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , GE revisions , Inaccuracies in A

b. 315

composition: Op. 21, Concerto in F minor, Mvt III

..

Similarly as in bar 311, Chopin wrote the necessary naturals in A (→GE1→FE) only in the first triplet (in both hands). In this bar, the necessary additions were introduced only in EE and GE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 317

composition: Op. 2, Variations, complete

2 staccato dots in A

2 wedges in GE (→FE,EE)
..

As so many times before, the dots having been reproduced as wedges resulted from the simplified interpretation of the notation of A by the engraver of GE1. In this case, it is very difficult to notice the second one, since it is overlapped by the cresc. indication.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Wedges , Inaccuracies in A