mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Inaccuracies in FE

b. 30-32

composition: Op. 2, Variations, complete

Crotchets after minims in AsI & A (→GE→FESB)

Various rhythms in FE

Crotchets and minims together in EE1

Notation with rests in EE2 (→EE3)
..

As before, FE, and particularly EE1, distorted the notation of the accompaniment by placing some (FE) or all (EE1) dotted crotchets directly next to the minims, which suggests that they should be performed simultaneously. In EE2 (→EE3), the misleading notation of EE1 has been partially corrected.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE

b. 47-48

composition: Op. 2, Variations, complete

Vertical accents in AsI

Different accents in A (→GE1→GE2)

Short accents in FE

Short accents in EE

Long accent in b. 48 in FESB

Long accents in GE3
..

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE ,

b. 49

composition: Op. 2, Variations, complete

Long accent in A (→GE)

Short accent in FE (,EE & FESB
..

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE , EE inaccuracies , Inaccuracies in FESB

b. 50

composition: Op. 2, Variations, complete

Various accents in A

Long accents in GE1 (→GE2,FE)

Short accents in FESB

Vertical accents in EE

No marks in GE3
..

We reproduce the notation of A, in which the length of the accents regularly decreases, which may suggest, e.g. that they should be each time milder, considering the calando. Such a graphical notation is to be found in a more complex form in the Polonaise in F minor, WN 12, in the autograph of which we can see in b. 79 a sequence of 6 notes marked diminuendo, provided with increasingly shorter accents. In the case of three accents only, it is, however, uncertain whether Chopin indeed wanted to suggest the pianist a certain performance idea; therefore, in the main text we interpret these marks in a standard manner, as long accents (written down inaccurately). This is how they were reproduced by GE1 (→GE2,FE1). The short accents of FESB and the vertical ones of EE are arbitrary changes, while the omission of the marks in GE3 – a mistake.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Inaccuracies in FE , Errors in GE , Inaccuracies in A

b. 59

composition: Op. 2, Variations, complete

Slur from demisemiquaver in A (→GE→FE1→FE2)

Slur from semiquaver in EE & FESB
..

In the main text we keep the notation of A (→GE→FE1→FE2), in which the slur starts from the tied d4 demisemiquaver. Chopin would often apply such a type of notation of slurs throughout his entire life. The equivalent notation of EE and FESB probably reflects the individual preferences of the engravers of those editions.

category imprint: Differences between sources

issues: Inaccuracies in FE , EE inaccuracies