mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Inaccuracies in GE

b. 296

composition: Op. 2, Variations, complete

2 dots & wedge in A

3 wedges in GE1 (→GE2→FESB, →EE,FE1→FE2)

Wedge in GE3
..

The wedges in the editions must be an arbitrary decision of the engraver of GE (→FE,EE). The missing two marks on the 3rd beat of the bar are a mistake of GE3.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in GE , Wedges

b. 302

composition: Op. 2, Variations, complete

Slur from B-d to d in A

Tie to F in GE1 (→GE2,EE,FE1→FE2)

Slur from B-d to c-e in FESB

Slur from F to c-e in GE3
..

The meaning of the slur, which in A clearly concerns the top L.H. voice, is unclear in GE1 (→GE2) – one can see it as a slightly too short tie to the F crotchet at the end of the 1st beat of the bar or an inaccurate slur encompassing three thirds in the top voice. The first interpretation was adopted by FE1 (→FE2) and EE, while the second – by FESB. In GE3 the slur combines the F crotchet with the c-e quaver. In the main text we reproduce the notation of A, confirmed by an analogous figure in the next bar. 

category imprint: Graphic ambiguousness; Differences between sources

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

b. 302

composition: Op. 2, Variations, complete

 after  in A

Long accent under f in GE (→FE1→FE2)

Short accent in EE & FESB
..

The short  mark may be considered an accent associated with the initial  or as a diminuendo hairpin, which, in this context, practically does not influence the meaning of this mark. On the other hand, placing it under the 1st f semiquaver, as it was performed in GE (→FE,EE), must be contrary to the notation of A and Chopin's intention. The differences in the length of the mark in individual editions most probably correspond to the different interpretations of the engravers: the ones who considered it an accent, inserted a short accent (EE and FESB), while diminuendo took the form of a long accent, which is present in GE (→FE1→FE2).

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 318

composition: Op. 2, Variations, complete

      in A

   in GE (→FE,EE)
..

In the main text we reproduce the notation of A, emphasising, as it seems, the syncopated quavers in the top voice. The shifted marks in the editions are gathered around the beginnings of the even triplets, which could not have been Chopin's intention – marks of such range cannot concern the top voice, next to which they were written.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins

b. 323

composition: Op. 2, Variations, complete

Longer  in AsI

 in A, literal reading

 in A, contextual interpretation

 in GE (→FE,EE)
..

The position of the  marks in A is not homogeneous as part of the recurring ,  and  set. According to us, these small differences result from inaccuracy of notation, since it is unlikely that such precise indications were supposed to additionally suggest some elusive performance differences. Due to the above, in the main text we standardise them:

  • we place  inside the  hairpin, as Chopin did it the second time,
  • we average out the position of  with respect to the notes – when interpreted literally, the first time it falls under the 2nd semiquaver of the triplet, while the second time – under the first one.

In GE (→FE,EE) the combination of a  with a  was reproduced with minor deviations – the first  was moved under the 3rd note of the triplet, while the second  was shortened, so that it did not intersect .

One  mark in AsI is the first attempt to write dynamic markings in this bar.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE