mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 319-320

composition: Op. 2, Variations, complete

Regular-size notes in AsI & A (→GE→EE,FESB)

Small-size notes in FE

Alternative version in FE
..

In each of these bars the notation of the top notes of the 6 subsequent thirds with a smaller font was introduced – certainly by Chopin or in agreement with him – in FE1 (→FE2). In his entire oeuvre, Chopin published such a simplified, alternative version, written down in such a manner, only 2 times, actually in a very similar context of a descending, chromatic sequence of sixth chords, the middle notes of which, performed by the L.H. together with the bottom ones, can be left out. Such notation is to be seen in the Grand Duo Concertant for piano and cello, Dbop. 16, bars 247-250. Remarkably, the Parisian editions of both pieces appeared in 1833; therefore, it could have been the work on the Grand Duo that suggested him the idea to introduce a similar solution in the Variations as well.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 327

composition: Op. 2, Variations, complete

..

In GE1 (→FE1,EE1→EE2) there are no accidentals to the fifth on the 2nd quaver in the bar, which would result in B-f. The oversight was corrected in GE2 (→GE3,FESB), FE2 and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions , Errors repeated in FE , Errors repeated in EE

b. 334-335

composition: Op. 2, Variations, complete

Slurs to b & a1 in A & FE

Slurs to a1 & f1 in GE, possible interpretation

Slurs to b, f1 & a1 in EE, possible interpretation

Slurs to b & f1 in FESB, possible interpretation

Slurs to b & f1 in GE3, possible interpretation
..

In GE, FESB and EE bar 335 opens a new line, which caused the distortion of the slurs ending on the 1st quaver in this bar. In the graphic transcription we reproduce the versions of these editions without changes, whereas in the content transcription (version 'edited text') we give their most likely (according to us) interpretation. In the main text we reproduce the unequivocal notation of A and FE (the notation of FE could have resulted from Chopin's intervention in the copy of GE1 serving him as the basis, since on the basis of the notation of GE it is difficult to guess the correct version, and neither the reviser of EE nor the reviser of FESB succeeded at it).

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Errors in GE , Authentic corrections of FE , Revisions in FESB

b. 337-338

composition: Op. 2, Variations, complete

AsI

A

GE (→EE,FESB)

FE
..

In FE the R.H. version, which is significantly altered with respect to the remaining sources, must have been introduced by Chopin (the absence of visible traces of changes performed in print suggests that Chopin entered it already into the basis, that is a copy of GE1). As it is the last authentic version, we give it in the main text. We only add a  hairpin in bar 338 – the mark is present in A, yet it was overlooked in GE, hence its absence in FE was not probably intended (in bar 337 Chopin included an analogous mark while proofreading FE1).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 337

composition: Op. 2, Variations, complete

..

We give the L.H. 2nd and 3rd beats in the version of FE, which can be considered an enhanced version of A (in A there is no augmentation dot to the f1 crotchet). In GE (→EE,FESB) all bottom voice quavers are written in the form of three-note chords, since their stems reach f1, which does not correspond to the notation of A and is probably an oversight by the engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE , Authentic corrections of FE , FE revisions