mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 327-329

composition: Op. 2, Variations, complete

Staccato dots in A

Wedges in GE (→FE,EE)
..

As before, all staccato marks used by Chopin, in this case dots, were arbitrarily reproduced in GE as wedges.
In FESB both marks in bar 327 were overlooked; we do not regard this incomplete version as an independent variant.

category imprint: Differences between sources

issues: Errors in FE , GE revisions , Wedges

b. 327-328

composition: Op. 2, Variations, complete

..

As in previous analogous sequences, Chopin did not see the reason to write accidentals to the topmost notes of the ascending triplets. In GE1 (→FE,EE) only 2 sharps in bar 328 were added, c3 and g3, while in GE2 (→GE3,FESB) a  to e3 was also added. The two necessary sharps in bar 327 were added only in GE3 and FESB.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , FE revisions

b. 328

composition: Op. 2, Variations, complete

..

In FE1 (→FE2) there are no ledger lines on the 2nd semiquaver of the 5th and 6th R.H. triplets. The noteheads are actually at the right pitch, yet the notation is misleading, particularly in the case of a2, which can be easily mistaken for a g2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE

b. 328

composition: Op. 2, Variations, complete

d2-f2-d3 in AsI

d3-g2-f2 in A (→GE→FE)
..

As was the case with the 5th triplet in bar 325, here the 3rd triplet is presented in AsI in its initial form. In both places Chopin eventually opted for a more regular form of the figuration.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 329

composition: Op. 2, Variations, complete

e1 in AsI

g1 in A (→GE→FE,EE)
..

We consider the version of A (→GE→FE,EE) with g1 as the last semiquaver in the bar to be Chopin's mistake. There are neither musical nor pianistic reasons to modify the scheme of a passage based on repetition of a model six-semiquaver figure in various octaves (cf. analogous figurations in bars 323 and 326), particularly in the third out of four (or even five) repeated figures. Therefore, in the main text we give e1, which is present in AsI.

category imprint: Differences between sources; Editorial revisions

issues: Terzverschreibung error , Errors of A