mUltimate Chopin

Op. 2, Variations, complete

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Issues : GE revisions

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b. 11

composition: Op. 2, Variations, complete

..

In the main text we add a cautionary  to f. In EE the accidental was added later, to the R.H. f1. In the penultimate L.H. octave, there is only one  in A, to the top note. The patent inaccuracy was corrected in GE (→FE,EE).

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Inaccuracies in A

b. 14

composition: Op. 2, Variations, complete

2 slurs in A

Shorter slur in GE (→FE,EE)

Longer slur in AsI & FESB
..

It is difficult to evaluate the authenticity of the version of GE (→FE,EE), featuring only one R.H. slur in this bar. The longer slur of A, not included in the editions, does not seem to be a part of an irregular group marking, since it goes beyond it, to the c3-c4 octave. Therefore, it should be assumed that it concerns phrasing/articulation; when omitted, it impacts the articulation of the last five demisemiquavers, particularly if we take into account the change of dots to wedges, also performed in GE. On the other hand, upon seeing GE, Chopin could have considered one slur to be enough and the markings as a whole to be acceptable. In this situation, we regard both sets of markings (dots under a slur or wedges) as more or less equal, keeping in the main text the version of the principal source, i.e. A.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE , Revisions in FESB

b. 14

composition: Op. 2, Variations, complete

..

In A, there are no naturals to the b2 and b3 demisemiquavers. The latter was already corrected in GE (→FE,EE). In the case of b2, the missing  does not have to be considered a mistake, since the rules of validity of accidentals are not strictly determined in this context – b2 sounds higher than the b1 note at the beginning of the bar (an accidental is required) but it is written down at the same pitch (an accidental is not required). Interestingly, both naturals are in AsI.

category imprint: Interpretations within context; Differences between sources

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

b. 14

composition: Op. 2, Variations, complete

Long accent in A

in GE (→FE,EE)

No sign in FESB
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The traces of erasure visible in A reveal that Chopin initially inserted the  mark under the bottom stave, more or less there where it is to be found in the editions. It can also be seen that the initial mark was longer, since it reached the first L.H. quaver. The corrected version of the mark was shortened and moved over the first chord. In this form, the mark is to be interpreted as a long accent, which we give in the main text. The engraver of GE (→FE1,EE) moved the mark, which he most certainly considered a diminuendo, under the stave, probably to avoid a contradiction with poco cresc. or simply due to lack of space over the stave (a hairpin on the stave is poorly visible; such a solution is applied only in exceptional cases).
The fact that the mark is absent in FESB is most probably due to an oversight, one of a few in this bar.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Long accents , Corrections in A , GE revisions

b. 16-17

composition: Op. 2, Variations, complete

Crotchets after minims in AsI

Crotchets after minims in A (→GE→FESB)

Crotchets and minims together in FE & EE
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Due to small gaps between the notes in GE1, the minims and the following dotted crotchets are written very close to each other; consequently, FE and EE interpreted it as a cue to combine the voices, which, in turn, led to the two notes being played simultaneously. In subsequent bars, a similar situation can be observed. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions