mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : EE revisions

b. 15

composition: Op. 2, Variations, complete

No sign in A (→GE→FE,FESB)

in EE
..

The lack of the  sign ​​​​​​ should be considered Chopin's inaccuracy in this context. The sign was added only in EE.

category imprint: Differences between sources

issues: EE revisions , No pedal release mark

b. 18-29

composition: Op. 2, Variations, complete

Crotchets after minims in AsI & A (→GE)

Various rhythms in FE

Crotchets mostly after minims in FESB

Crotchets and minims together in EE1

Notation with rests in EE2 (→EE3)
..

As it was described in the note concerning b. 16-17, due to the notation of the harmonic legato in the L.H. part, the engraver of GE1 misunderstood the rhythm; consequently, the notation became more or less compliant with A only after corrections to a printed version. Generally, the dotted crotchets are separated from the minims; however, wherever there are no small rhythmic values in the R.H., the gaps are very small, while in the 2nd half of b. 18 the notes almost touch each other. Consequently, it contributed to the clearly erroneous versions of notation of FE and EE1:

  • in FE it is only b. 19 and 23 and the 2nd half of b. 28 that are correct;
  • in FESB it is only the 1st half of b. 26 that is an exception to a generally correct version of notation;
  • in EE1 the erroneous combinations of minims with dotted crotchets were introduced into all bars;
  • in EE2 (→EE3) a quaver rest was added above the minim that begins each half measure. Additionally, the dotted crotchets have been shifted in several places to make it clear that they should be struck on the 2nd or 6th quaver of the bar. These shifts were done imprecisely, with the dots extending some of the crotchets omitted.

category imprint: Graphic ambiguousness; Differences between sources

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

b. 21

composition: Op. 2, Variations, complete

Accents in A (→GE→FE,FESB)

Vertical accents in EE
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The change of the accents over g to vertical ones was a typical arbitrary revision of EE – see e.g. both notes on accents in bar 25.  

category imprint: Differences between sources

issues: EE revisions

b. 25

composition: Op. 2, Variations, complete

e in A, FE, FESB & GE3

e in GE1 (→GE2,EE)
..

The version of GE1 (→GE2,EE), featuring e, is almost certainly erroneous – there are no traces of removal of the , despite the numerous traces of corrections visible in this and adjacent bars (very clear in GE2) related to the misinterpreted L.H.-part rhythm. The overlooked  was added by FE and FESB.
EE revised the version of GE1 by removing the  to e in the 2nd half of the bar, unnecessary due to the missing  at the beginning of the bar.

category imprint: Differences between sources

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

b. 25-28

composition: Op. 2, Variations, complete

4 different slurs in AsI

4 longer & 3 shorter slurs in A, literal reading

7 longer slurs in A, contextual interpretation

6 shorter slurs in GE1 (→GE2)

7 shorter slurs in FE, EE 7 GE3
..

The range of the small slurs under the groups of grace notes differs in A; however, they must be accidental inaccuracies, getting bigger as similar marks repeat themselves. The first 4 slurs prove that Chopin almost certainly meant slurs reaching the respective main notes, and this is the interpretation we adopt to the main text. In the editions, the slurs encompassed only the grace notes; moreover, GE1 (→GE2) overlooked the second slur in b. 26 (which was added in the remaining editions).

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccurate slurs in A , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions