mUltimate Chopin

Op. 2, Variations, complete

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b. 5

composition: Op. 2, Variations, complete

  in A, contextual interpretation

  after A

  in GE (→FE,FESB)

  in EE
..

In A, the pair of dynamic hairpins was written as close as possible to the top voice so that it was clear that it concerned this very voice; the slightly shortened  mark is a result of lack of space. For reasons of clarity, in the main text we move the marks over the stave. In GE (→FE,FESB) the  mark was prolonged, which could be considered acceptable; however, as a consequence, the mark seems to concern the R.H. bottom voice too, which is exactly what Chopin wanted to avoid in A. In the version of EE, the original notation is distorted even more (due to lack of access to A).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A

b. 5-6

composition: Op. 2, Variations, complete

 in A, contextual interpretation

in GE (→FE)

in EE

in FESB
..

In A, the short  mark is placed in b. 6; however, since it reaches only the 1st crotchet in that bar, it is obvious that it concerns the f1-g1 step between the bars, which we give in the main text. The versions of editions are based on the interpretation of that mark performed by GE1, in which its right-hand ending is led to the 2nd beat of the bar, which has no basis in the notation of A. In spite of minor differences in the range of the marks in the editions, we regard them as different, since each may suggest a slightly different beginning or ending of the crescendo, while the mark in FESB actually resembles a reversed accent.

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

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A

b. 7

composition: Op. 2, Variations, complete

f in A

f in A

No note in GE (→FE,EE,FESB)
..

In the main text we include the f semibreve present in A. It also appears in all sources of the orchestral part (in violas), including in the later record of this bar in AsI. The absence of that note in the editions most probably resulted from a mistake by the engraver of GE1; perhaps he was uncertain where to put it – more or less in the middle of the bar, as in A, or at the beginning of bar as required by the general rule of vertical alignment of notes played simulaneously.
These variants do not apply to the original version of the opening eight-bar period, written in AsI.

category imprint: Differences between sources

issues: Errors in GE

b. 8

composition: Op. 2, Variations, complete

Minim F in AsI

No F in A (→GE→FESB,EE1→EE2)

Octaves in FE & EE3
..

The AsI version is the original redaction of the bass part in this bar. In the main text we include the bottom notes of the octaves added – almost certainly by Chopin – in the stage of proofreading FE1. The addition was also introduced into EE3, most probably pursuant to FE2.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE , Bass register changes , Abbreviated octaves' notation

b. 8

composition: Op. 2, Variations, complete

f1 quaver in AsI (later version)

f1 quaver in AsI (later version)

f1 crotchet in A (→GE→FE,EE,FESB)

f1 crotchet in A (→GE→FE,EE,FESB)
..

The version in which the last f1 of the upper voice is a quaver comes from the later of the two versions of the orchestral introduction recorded in #ApI – see bars 1-8. This is a holdover from the earlier version that ends with the motif g1-f1 in the  rhythm. In the main text we provide the final version of A and the first editions.

category imprint: Differences between sources; Corrections & alterations