mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 45-46

composition: Op. 2, Variations, complete

..

A includes sharps only next to the top notes of the octaves on the penultimate quaver in the bar. The patent inaccuracy was corrected in GE (→FE,EE).

category imprint: Interpretations within context; Differences between sources

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

b. 47-48

composition: Op. 2, Variations, complete

..

In the L.H. part Chopin wrote accidentals only to the top notes of the octaves – e in b. 47, e1, b, f in b. 48. All the necessary accidentals were added in GE (→FE,EE,FESB).
In the main text we add cautionary naturals to f-f1 in b. 47.

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

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

b. 49-51

composition: Op. 2, Variations, complete

..

In A the bottom notes of the B1-B octave in b. 49-50 and the B1-B octave in b. 51 are devoid of accidentals. They were already added in GE1 and repeated in the remaining editions.

category imprint: Interpretations within context; Differences between sources

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

b. 49

composition: Op. 2, Variations, complete

..

In A there is no  raising e2 to e2 at the beginning of the 5th semiquaver triplet. The accidental was added in GE (→FE,EE). On the 4th beat of the bar, there are no accidentals in the sources, which, however, cannot be considered a mistake in this piece – cf. b. 39-40.

category imprint: Interpretations within context; Differences between sources

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

b. 50

composition: Op. 2, Variations, complete

Various accents in A

Long accents in GE1 (→GE2,FE)

Short accents in FESB

Vertical accents in EE

No marks in GE3
..

We reproduce the notation of A, in which the length of the accents regularly decreases, which may suggest, e.g. that they should be each time milder, considering the calando. Such a graphical notation is to be found in a more complex form in the Polonaise in F minor, WN 12, in the autograph of which we can see in b. 79 a sequence of 6 notes marked diminuendo, provided with increasingly shorter accents. In the case of three accents only, it is, however, uncertain whether Chopin indeed wanted to suggest the pianist a certain performance idea; therefore, in the main text we interpret these marks in a standard manner, as long accents (written down inaccurately). This is how they were reproduced by GE1 (→GE2,FE1). The short accents of FESB and the vertical ones of EE are arbitrary changes, while the omission of the marks in GE3 – a mistake.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Inaccuracies in FE , Errors in GE , Inaccuracies in A