mUltimate Chopin

Op. 2, Variations, complete

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Issues : GE revisions

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b. 276

composition: Op. 2, Variations, complete

No marks in AsI & A

Wedges in GE (→FE,EE)

Wedge & dot suggested by the editors
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The missing staccato markings in A must be considered Chopin's inadvertence – the marks are present in all similar situations. The wedges added by GE are most probably inauthentic; however, even if they had been added at Chopin's request, it would have been an ad hoc correction, adjusted to the unifying manner of the engraver of GE1. Due to the above, in the main text we suggest adding marks in accordance with the consistent rule visible in A – wedges only for the bass notes on the main beats of the bar. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Authentic corrections of GE

b. 277

composition: Op. 2, Variations, complete

..

Neither AsI nor A (→GE→FE1,EE,FESB) include an accidental to the 7th semiquaver. The F major chord underlying this place is, however, thanks to the C7 chords present directly both before and after it, temporarily the tonic, which requires the use of e2, and not e2. This conclusion is also supported by bar 285 – in the orchestral version of this phrase all sources contain e2(3). The mistake, patent in this context, was, however, corrected only in the stage of proofreading FE2, probably at Chopin's request.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE

b. 283

composition: Op. 2, Variations, complete

Slur from g2 in A

Slur from f2 in GE (→FE,EE)
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The slight change of range of the slur in GE (→FE,EE) could be considered an inaccuracy. According to us, a routine revision is, however, more likely, adjusting the range of the slur to beams or regular rhythmic structures, e.g. bars. In this case, the slur starts from the beginning of the bar, hence earlier than in A; by contrast, in bars 284-285 – also from the beginning of the bar, but later than in A. In the main text we give the slur of A, starting from the semiquaver, as in the analogous phrases in bars 275, 279 and 287.

category imprint: Differences between sources

issues: GE revisions

b. 284-285

composition: Op. 2, Variations, complete

Slur from b2 to f3 in A, possible interpretation

Slur from a2 to f3 in GE (→FE,EE)

Slur from b2 to g3 in A, contextual interpretation
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As in the previous bar, the beginning of the slur having been placed in GE (→FE,EE) at the beginning of bar 285 is probably a routine revision by the engraver of GE1. As far as the ending of the slur is concerned, in A it is clearly inaccurate – the fact that it reaches only e3 is musically inexplicable. However, it is uncertain whether Chopin wanted the slur to reach only f3, as is the case of GE (→FE,EE), or the g3 quaver, after the remaining slurs in bars 283-286, which always end on longer rhythmic values (quavers or crotchets). In the main text we incline toward the latter.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 287-288

composition: Op. 2, Variations, complete

..

In AsI and A, accidentals were put only next to the top notes of the octaves – a  to a in bar 287 and naturals to e3, e and a  to g in bar 288. All necessary accidentals were already added by GE (→FE,EE).

category imprint: Interpretations within context; Differences between sources

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