mUltimate Chopin

Op. 2, Variations, complete

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Rhythm

b. 115

composition: Op. 2, Variations, complete

Quaver & rest in AsI

Crotchet in remaining sources
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category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors of A

b. 123-126

composition: Op. 2, Variations, complete

Notation in AsI & A (→GE→EE,FESB)

Notation in FE
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The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 123, 124 and 126), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note to b. 45-46.

category imprint: Differences between sources

issues: Dotted rhythms and triplets , FE revisions

b. 125-127

composition: Op. 2, Variations, complete

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In AsI the following quavers: g3 in b. 125, c4 and e4 in b. 126 and b2, e2 and d2 in the 1st volta of b. 127 are written as crotchets – they lack quaver flags. The first two of those mistakes (next to g3 and c4) were repeated in A. The editions contain the right text. 

category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information

issues: GE revisions , Rhythmic errors , Errors of A

b. 126

composition: Op. 2, Variations, complete

Quaver a2 after AsI

Semiquaver a2 in A (→GE→FE,EE,FESB)
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The separated a2 quaver leads to b2 in the next bar, thus creating a complete melodic sequence in the R.H. part (e4-a2-b2), alternative with respect to the line using the L.H. f4 (e4-f4-b2). Eventually, Chopin simplified the notation; perhaps he did not want to divert attention from the main line.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 134

composition: Op. 2, Variations, complete

f repeated in AsI

f tied in A (→GE→FE,EE)
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category imprint: Differences between sources; Corrections & alterations