mUltimate Chopin

Op. 2, Variations, complete

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b. 58

composition: Op. 2, Variations, complete

..

The authentic chromatic notation of the descending part of the roulade takes into account the validity of the previously entered accidentals only to a minimal extent:

  • In a few places Chopin chose enharmonic variants requiring a greater number of accidentals than necessary – c4 as the 15th note, b3 (18th), g3 (25th), f3 (29th), e3 (33rd), c3 (39th), b2 (43rd). As in such a chromatic sequence enharmonic variants of notation practically do not impact the understanding of music, we exceptionally change this orthography in the main text to avoid excessive complications. It allows us to reduce the number of accidentals on the 2nd, 3rd and 4th beats of the bar by 8 (in the authentic notation we also count the 3 accidentals overlooked by Chopin – see below).
  • Assuming a regular structure of the figuration – which is almost impossible to challenge – Chopin overlooked a  cancelling an alteration that has occurred earlier in the bar three times – no naturals to c4 (14th note), a3 (20th note) and f3 (31st note).
  • The  to g3 was unnecessarily repeated (22nd note).

This notation was repeated without any changes by the majority of the editions. Only in FESB a  restoring c4 was added (14th note).

The choice between the orthography of the sources (complemented) and the one proposed by us is made possible in the note presenting the earlier version of the R.H. figuration recorded in #ApI.

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

issues: Omissions to cancel alteration , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , Revisions in FESB

b. 59-61

composition: Op. 2, Variations, complete

..

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

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

b. 59

composition: Op. 2, Variations, complete

Additional slurs in sources

No triplet slurs, our suggestion
..

In the main text we omit the slurs being part of a marking of an irregular group – cf. General Editorial Principles, p. 16. In AsI there are no other slurs in this bar.

category imprint: Editorial revisions

issues: Triplet slurs

b. 59

composition: Op. 2, Variations, complete

Wedge in A (→GE→FE,EE)

No mark in FESB
..

The lack of a wedge in FESB is certainly an oversight by the engraver.

category imprint: Differences between sources

issues: Errors in FESB