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
Rhythm
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Rhythm

b. 159

composition: Op. 2, Variations, complete

2 quavers in AsI

Quaver & rest in A (→GE1→GE2), arpeggio sign after chord

Quaver & rest in FE, EE & FESB

Quaver & rest in GE3, no arpeggio sign
..

The version of AsI, closer to the rhythm of the previous bars, must be earlier. In the main text we adhere to the improved version of the remaining sources.

In the main text we correct the mistake (probably by Chopin) in the notation of the arpeggio, since it is unlikely that a wavy line in this position could have a different meaning.  

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

issues: Accompaniment changes

b. 168-170

composition: Op. 2, Variations, complete

No octaves in AsI

Octaves in A (→GE→FE,EE,FESB)
..

As in b. 128-131, the fact that the bass line was not doubled an octave lower in AsI may be just a simplified version of notation. In A the doubled line was marked with con 8va, which was elaborated in the editions.

category imprint: Differences between sources; Corrections & alterations

issues: Bass register changes , Abbreviated octaves' notation

b. 174

composition: Op. 2, Variations, complete

Crotchet f in AsI

2 quavers f in A (→GE→FE,EE,FESB)
..

In the main text we stand by the undoubtedly later version of A (→GE→FE,EE,FESB). Rhythmically speaking, it is also closer to the orchestral version, in which we can hear 4 quavers in the cellos and basses: .

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 182

composition: Op. 2, Variations, complete

2 quavers e1 in AsI, contextual interpretation

2 quavers e1 in AsI, contextual interpretation

Semiquaver, demisemiquaver & quaver e1 in AsI, alternative version of b. 182', contextual interpretation

Crotchet e1 in A (→GE→EE,FESB)

e1 crotchet & demisemiquaver in FE, contextual interpretation

Completed FE version suggested by the editors
..

In the main text we give a version with e1 repeated at the end of the bar, introduced almost certainly by Chopin in the stage of proofreading FE. At the same time, we add a dot prolonging the a1 semiquaver, since the different values of the components of the a1-d2 fourth, neither musically nor pianistically justified, may be a result of inaccurately implemented proofreading corrections.
In GE1 (→EE) a dot prolonging the e1 crotchet played in the middle of the bar was added. The patent mistake was corrected by GE2 (→GE3,FESB), but not by FE.
In AsI, in b. 182' (the second record of this bar) there are two versions – the principal one, written in clear, normal-sized script, and the alternative one, superimposed on the previous one in a draft form.
A few authentic versions of this place show that Chopin changed his mind on the repetition of e1 in the 2nd half of the bar twice – in AsI (all versions) on the 4th quaver in the bar, in A without repetition, in FE at the end of the bar.
In the provided variants we also included the different values of the last two R.H. notes – semiquavers in AsI (version of b. 182), dotted rhythm in all the remaining versions.
There is a similar situation in b. 198.

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

issues: Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE

b. 182

composition: Op. 2, Variations, complete

..

In AsI there are two semiquavers at the end of the bar in the first record (b. 182), whereas the second one (b. 182') includes a dotted rhythm, compliant with the versions of the remaining sources. The respective variants are included in the note below.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Dotted or even rhythm