mUltimate Chopin

Op. 2, Variations, complete

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Issues : GE revisions

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b. 268

composition: Op. 2, Variations, complete

in A

cresc. in GE (→FE,EE)
..

As in bar 266, in GE (→FE,EE) the  hairpin encompassing the cresc. indication was overlooked, which could not have been authorised by Chopin.

category imprint: Differences between sources

issues: GE revisions

b. 268-269

composition: Op. 2, Variations, complete

2 staccato dots in A

Wedge in GE1 (→FE,GE2→FESB)

2 wedges in EE

3 wedges in GE3
..

In A the staccato marks over the bass G notes are clearly dots in this bar, and not wedges, as was the case before and as was conveyed by GE and the remaining editions. It was not an inaccuracy of notation, since in both places one can see traces of corrections (erasures). In the next bars, the bass notes are not marked staccato at all, which may suggest that the articulation should get gradually longer (milder?) as the modulation progresses and as the music calms down.
The absence of the second mark in GE1 (→FE,GE2→FESB) probably resulted from an oversight (or the engraver was uncertain which mark to apply). The additions in EE (the 2nd wedge in bar 268) and GE3 (the 2nd wedge in bar 268 and the wedge over the first F in bar 269) were arbitrary decisions of the revisers.

category imprint: Differences between sources

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

b. 270

composition: Op. 2, Variations, complete

..

In this entire bar, in AsI and A there is only one  raising a1 to a1 before the 1st semiquaver. In GE (→FE) accidentals were added to a2 in the 3rd semiquaver and to a in the 2nd half of the bar. An accidental to a3 is present only in EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 271-272

composition: Op. 2, Variations, complete

2 wedges, 4 dots in A

5 wedges in GE (→FE,EE)
..

The precise Chopinesque articulation markings – wedges at the beginning of the bar and dots further on – were arbitrarily standardised in GE (→FE,EE). It was the entire finale of the Variations that was subject to this arbitrary unification of staccato markings. According to us, such a decision could have been influenced by both types of staccato intertwining in A, doubly burdensome for the engraver:

  • when deciphering the text, since the differences between the marks are not always obvious at first sight, not to mention discovering the key Chopin followed when choosing one or the other type of marks;
  • when engraving, due to the need to change the die often (or due to the need to develop a page twice, once for dots and subsequently for wedges).

The missing staccato mark over the crotchet in bar 271 is most probably the engraver's mistake.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Wedges

b. 274

composition: Op. 2, Variations, complete

in A

cresc. in GE (→FE,EE)
..

As in bars 266 and 268, in GE (→FE,EE) the  mark encompassing cresc. was omitted, probably considering it an unnecessary graphical complication.

category imprint: Differences between sources

issues: GE revisions