b. 306-307
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composition: Op. 2, Variations, complete
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In the main text we roughly reproduce the notation of A, in which crescendo is written out as a full word, divided between two bars (without dashes). The part of the indication falling on bar 307 was left out in the editions, probably due to the transition to a new page (both in A and in the editions), which, however, does not generally influence its meaning, yet it is less suggestive. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 306
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composition: Op. 2, Variations, complete
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It is uncertain what led to the difference in the position of the indication. It is unlikely that we could be dealing with Chopinesque proofreading of GE1; moreover, there are no traces of the indication having been moved in print. However, the interpretation of this mark makes us consider the version of the editions to be more accurate. In A the mark is also written in the solo part, although repeating it only for its last chord does not seem intentional. Therefore, according to Chopin, must have referred to the connecting passage marked as Tutti as well, which is confirmed by the full version of the Variations – the orchestral Tutti starts already at the beginning of the bar, whereby marks are written in the parts of wind instruments at the beginning of the bar, and in the ones of string instruments – on the 2nd quaver. When copying probably from the parts of the wind group, Chopin did not notice a possible ambiguity resulting from the lack of synchronisation of this indication with the beginning of the Tutti, which in the version for one piano is marked only just on the 2nd quaver in the bar. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 308
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composition: Op. 2, Variations, complete
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Due to the traces of removal of f1 from the 1st R.H. chord visible in FE, it is almost certain that this place underwent Chopinesque proofreading. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 308-309
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composition: Op. 2, Variations, complete
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The corrections and erasures visible in A reveal that Chopin initially wrote a slur only over the semiquaver sextuplet. Similar changes of conventional slurs related to the notation of irregular groups into motivic slurs are also to be found in other pieces by Chopin, e.g. in the Etude in C minor, Op. 10 No. 12, bars 52-62. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Triplet slurs |
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b. 309
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composition: Op. 2, Variations, complete
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Single marks appear in Chopin's pieces quite rarely and – apart from the pieces' endings – most often result from oversights of marks supposed to complete them. According to us, this is also the case here – starting from the mark at the beginning of this bar, there are no more pedal marks in A until the end of the line of text (in bar 311), which points to momentary distraction. Due to the above, in the main text we suggest adding a , in accordance with the harmonic sense. Such a mark was also added in EE, almost in the same place. category imprint: Differences between sources; Editorial revisions issues: EE revisions , No pedal release mark , Inaccuracies in A |