mUltimate Chopin

Op. 2, Variations, complete

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Pitch

b. 205-206

composition: Op. 2, Variations, complete

f-b in AsI & A (→GE→EE,FESB)

f1-b1, a1 in FE
..

We provide the version that Chopin enhanced while proofreading FE. Moving the horn motif an octave higher could have been aimed at avoiding a false relation: f in bar 205 with f1 at the beginning of bar 206. Moreover, the composer could have also wanted to avoid the clash – quite monotonous on the piano – with an identical motif ending the bassoon phrase.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Main-line changes

b. 206

composition: Op. 2, Variations, complete

..

In Af and A there is no  restoring f1 in the 2nd half of the bar. The error has already been corrected in GE1, so that all editions have the correct text. The natural is also present in AsI.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A

b. 207

composition: Op. 2, Variations, complete

Chords in AsI

Chords in A (→GE→EE,FESB)

Chord & octaves in FE
..

In the stage of proofreading FE, the ending of this tutti underwent a similar change as in the previous variation. Eventually, in the version for one piano, all four endings – of the Theme and the first three variations – were given a similar form, with a chord in a higher register (in open position) on the 2nd quaver and a doubled or tripled b root on the third one.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Bass register changes , Main-line changes

b. 208-227

composition: Op. 2, Variations, complete

..

After Variation III, in A there is an earlier version of Variation IV, based on a different textural idea:

After having written down the entire piece, Chopin deleted this variation (without its final tutti) and added its new, final version at the end of the manuscript; moreover, he precisely marked the places in which the added text should be inserted. AsI retains the version deleted in A in an even earlier form, in which certain fragments were being developed a few times.
Taking into account the below:

  • the different texture of both versions excludes any possibility of exchange of their individual fragments,
  • the change entered into A, described above, is final,

we discuss separately the version abandoned by Chopin – see Variation IV, initial version. It is also there that the transcriptions – graphic and content – of the notation of AsI can be found.

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

issues: Corrections in A , Deletions in A

b. 209-221

composition: Op. 2, Variations, complete

..

In the main text we add a cautionary  to g1 in bar 209 and analog. (213, 217 and 221).

category imprint: Editorial revisions