mUltimate Chopin

Op. 2, Variations, complete

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Ornaments

b. 178

composition: Op. 2, Variations, complete

in AsI

on AsI

No ornament in remaining sources.
..

In the version intended for publication, Chopin reserved the trill for the last repetition of this phrase, bar 194.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 182

composition: Op. 2, Variations, complete

in AsI, later version

after later AsI version

No ornament in AsI (original notation) & A (→GE→FE,EE,FESB)
..

In AsI the  mark and the grace notes indicating the ending of the trill were most probably added later the first time (b. 182). The interpretation of the second record (b. 182' – see b. 176-180) is more difficult; however, it seems that there was a  there, yet Chopin abandoned it in the layer of the latest, draft-like additions. As Chopin did not include this ornament in the final version, it is an example of the composer's hesitation, which ended in a return to the initial version. Cf. the previous bar.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 184

composition: Op. 2, Variations, complete

 in AsI

 & grace notes in A (→GE→FE,EE,FESB)

 with  & grace notes suggested by the editors
..

In AsI the ornament, added probably later, is provided with a draft and not entirely clear form; however, it is most probably . Chopin would often use this mark in the sense of  (at times they are even difficult to tell apart). Therefore, the use of a different mark does not have to mean that Chopin envisaged a longer ornament.
Placing a  under the third in FE, which, formally speaking, changes its meaning, is a routine manner of the engravers, who would often move marks (concerning particular notes, but also slurs) to the side of noteheads (in the editions the stems of the notes in the 2nd half of the bar point upwards). Cf., e.g. the Polonaise in F minor, Op. 44, b. 10. The absence of this  in FESB is most probably an oversight.

None of the sources includes a mark that would specify the sound of the ornament's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with naturals. Omissions of accidentals in similar situations is a rule rather than an exception in Chopin's pieces – apparently, the composer believed that the sense of key would suggest the right note to the performer.

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

issues: Errors in FE , Placement of markings , FE revisions , ,

b. 188

composition: Op. 2, Variations, complete

No ornament in AsI

 in A (→GE→FE,EE,FESB)

 with  suggested by the editors
..

The missing trill in AsI is most probably related to the different shape of melody and rhythm in the ending of the bar – see the next note.

As in the case of b. 184, none of the sources includes a mark that would specify the sound of the trill's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with a . 

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

issues: Main-line changes , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 189

composition: Op. 2, Variations, complete

 in AsI
..

As in b. 184 and 188, none of the sources includes an accidental that would specify the sound of the mordent's top note. The prevailing key in b. 184-190, F major, requires the use of e, which we indicate in the main text with a natural.

category imprint: Editorial revisions

issues: Omission of current key accidentals