mUltimate Chopin

Op. 2, Variations, complete

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Issues : GE revisions

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b. 363-366

composition: Op. 2, Variations, complete

..

As before (bars 349-352), in A Chopin writes accidentals only to the top notes of the octaves (in the R.H. and in the L.H.). He then considers these accidentals to be valid throughout an entire bar in all octaves of a given stave. All the omitted accidentals – 27 flats to d and g and 2 naturals to e – were already added in GE1 and were repeated in the remaining editions.
In the main text we omit the  to the d3 semiquaver in bar 363, unnecessarily repeated by Chopin. We do not include the  to the next semiquaver, d2, either, added in GE (→FE,EE). 

category imprint: Interpretations within context; Differences between sources

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

b. 363

composition: Op. 2, Variations, complete

3 staccato dots in A

2 wedges in GE (→FE,EE,FESB)
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Replacing the staccato dots with wedges is a revision, while the omission of the mark over d-d1 – a mistake by the engraver of GE1 (in A the dot merges with the  mark).

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Wedges

b. 363-364

composition: Op. 2, Variations, complete

2  in AsI

   in A

   in GE1 (→EE,GE2→FESB)

  in FE

   in GE3
..

AsI includes different dynamic indications here, describing an earlier concept, changed in the stage of writing A. We move the mark in bar 364 between the staves, since it certainly concerns both parts and was written over the top stave due to lack of space between the staves. In GE1 the hairpin was slightly widened or moved, generally adjusting it to individual beats. This notation was repeated in the remaining editions, in the case of FE with a mistake, while in the case of GE3 with a further shift. 

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Scope of dynamic hairpins , GE revisions

b. 365-366

composition: Op. 2, Variations, complete

Wedge & 11 staccato dots in A

12 wedges in GE (→EE)

13 wedges in FE

3 wedges in FESB
..

The change of dots to wedges is a revision of GE (→FE,EE,FESB), while the additional wedge in FE – a mistake.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 367

composition: Op. 2, Variations, complete

pédale de la basse in AsI

 after first quaver in A, literal reading

 under 2nd quaver in GE (→FE,EE,FESB)

 under 1st quaver suggested by the editors
..

The placement of the  mark in A does not allow us to reproduce Chopin's intention unequivocally. Statistically speaking, Chopin would write a  mark more often – especially in the case of low-placed bass notes – before the note it was supposed to concern than after such note, but his autographs include both situations. Therefore, we assume that in this case it is the pianistic context that is decisive – bass pedal notes belong to Chopin's favourite harmonic procedures, hence the doubled F1-F octave held with pedal seems to be more likely than the solution adopted by the editions. This conclusion is confirmed by the notation of AsI – the 'bass pedal' indication written under the semiquaver figuration undoubtedly refers to the reverberation of the initial octave, which in the orchestral part is sustained by the f note, played in bars 367-368 by the bassoon, while in bars 369-370 by the French horn. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: GE revisions , Inaccuracies in A