mUltimate Chopin

Op. 2, Variations, complete

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b. 367

composition: Op. 2, Variations, complete

in AsI

 in A (→GE→FE,EE)
..

The  mark in AsI suggests a clearly different dynamic concept of this place in the early phase of development of the piece's interpretation. However, it should be noted that it is accompanied by leggieramente, which seems to reduce this difference to a certain extent – see the next note.

category imprint: Differences between sources; Corrections & alterations

b. 367-370

composition: Op. 2, Variations, complete

leggieramente in AsI

legatiss. leggieriss. e dim. in b. 367-370 after A

legatiss. leggieriss. e dim. in b. 367-368 in GE (→FE,EE)
..

The version of AsI represents an earlier stage of development of interpreting indications concerning this place. In GE1 (→FE,EE,GE2→FESB) the range of diminuendo was shortened, probably wanting to avoid a situation in which this indication would be divided between the pages, since bars 369-370 already fall on a new page. This version was also repeated in GE3, although in this edition all 4 bars are on the same page, as in our transcriptions. In the main text we write the Chopinesque abbreviations leggieriss. and legatiss. in full, since it is enabled by the fact that our transcriptions are written less densely.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions

b. 368

composition: Op. 2, Variations, complete

No sign in sources

[] suggested by the editors
..

The missing  asterisk in the sources does not have to be Chopin's oversight. In such descending figurations preceded with a bass note, we often encounter notation without this mark, which suggests that the composer resorted to such notation either when he did not want to specify the moment the pedal should be released or when he could not decide on one of the versions, cf., e.g. the Etude in D, Op. 25 No. 8, bars 19-20, 27 or the Waltz in C minor, Op. 64 No. 2, bars 15-16. On the other hand, there is a number of places (e.g. among the above examples) in which Chopin added a  mark in some sources, probably to avoid a too long or a too short pedal. Guided by similar motives, in the main text we indicate a possible pedal release in a place in which the shape of the L.H. figuration changes, thus exposing the bass line more clearly (according to Chopin's intention probably gradually, which is indicated by the subsequent change of notation in bar 370).

category imprint: Editorial revisions

issues: No pedal release mark

b. 368

composition: Op. 2, Variations, complete

..

In the main text we add cautionary accidentals in the 1st triplet – naturals to c3 and c4 and flats to e3 and e2. The accidentals were also added in GE3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 369-370

composition: Op. 2, Variations, complete

..

In the main text we add cautionary accidentals in the first triplets in these bars:

  • flats to e2 in bars 369 and 370 and to e1 in bar 370;
  • naturals to a1 and c2 and c3 in bar 370.

All flats were added also in GE3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions