mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : GE revisions

b. 306-307

composition: Op. 2, Variations, complete

cre - scen - do in A

cresc. in GE (→FE,EE)
..

In the main text we roughly reproduce the notation of A, in which crescendo is written out as a full word, divided between two bars (without dashes). The part of the indication falling on bar 307 was left out in the editions, probably due to the transition to a new page (both in A and in the editions), which, however, does not generally influence its meaning, yet it is less suggestive.
The editions also left out the  hairpin – see bar 112.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 306

composition: Op. 2, Variations, complete

 on first chord in A

after first chord in GE (→FE,EE)
..

It is uncertain what led to the difference in the position of the  indication. It is unlikely that we could be dealing with Chopinesque proofreading of GE1; moreover, there are no traces of the indication having been moved in print. However, the interpretation of this mark makes us consider the version of the editions to be more accurate. In A the mark is also written in the solo part, although repeating it only for its last chord does not seem intentional. Therefore, according to Chopin,  must have referred to the connecting passage marked as Tutti as well, which is confirmed by the full version of the Variations – the orchestral Tutti starts already at the beginning of the bar, whereby  marks are written in the parts of wind instruments at the beginning of the bar, and in the ones of string instruments – on the 2nd quaver. When copying  probably from the parts of the wind group, Chopin did not notice a possible ambiguity resulting from the lack of synchronisation of this indication with the beginning of the Tutti, which in the version for one piano is marked only just on the 2nd quaver in the bar. 

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 309

composition: Op. 2, Variations, complete

..

The  to the bottom note of the octave on the 3rd beat of the bar, overlooked in the manuscripts, was added right away in GE1 and repeated in the remaining editions.

category imprint: Interpretations within context; Differences between sources

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

b. 310

composition: Op. 2, Variations, complete

3 staccato dots

3 wedges in GE1 (→EE,FE1→FE2, →GE2→FESB)

6 wedges in GE3
..

The wedges in the editions resulted from the engraver of GE1 having misinterpreted the authentic dots. In GE3 wedges were arbitrarily added over the chords too (cf. bar 305).

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 310

composition: Op. 2, Variations, complete

in A

in GE1 (→GE2,EE,FE1→FE2)

in FESB

No sign in GE3
..

The differences in the range of the  hairpin resulted from routine revisions, adjusting the marks to rhythmic structures or beams – in GE1 (→GE2,EE,FE) on the left-hand side, while in FESB also on the right-hand side. The absence of the mark in GE3 is an oversight by the engraver. In the main text we reproduce the mark of A.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , Errors in GE , GE revisions , FE revisions