mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Errors in FE

b. 114

composition: Op. 2, Variations, complete

2 quavers & crotchet in AsI & A (→GE→FE1,EE,FESB)

3 quavers in FE2
..

In FE1, there are 3 crotchets in the bottom voice, which is a mistake (we reproduce them in our system in the "transcript" version only), which was corrected in FE2 by adding a quaver beam combining all 3 notes. We give this version, probably the latest authentic one, in the main text.

See also the note at the end of the bar.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 182-183

composition: Op. 2, Variations, complete

No slurs in AsI & FE

Slurs in A, literal reading

Slurs after A, literal reading

Slurs in GE (→EE,FESB)

Slurs after GE (→EE,FESB)
..

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Inaccurate slurs in A , GE revisions

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. 192

composition: Op. 2, Variations, complete

..

As the last demisemiquaver, FE erroneously has the octave a-a1.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE

b. 207

composition: Op. 2, Variations, complete

4 wedges on 2nd & 3rd quaver in A

4 wedges on 2nd & 3rd quaver after A

4 wedges after A & FE

5 wedges in GE (→EE)

5 wedges after GE (→EE)

5 wedges after GE (→EE)

Wedge on 2nd R.H. quaver and 3 L.H. wedges in FE

Wedge on 2nd R.H. quaver and 3 L.H. wedges after FE

2 L.H. wedges in FESB

2 L.H. wedges after FESB
..

The additional wedge in GE is, according to the editors, most likely a mistake by the engraver of GE1 – there is no reason why Chopin's possible addition of marks should only apply to the L.H. In turn, omission of the last R.H. wedge in FE is probably a side effect of the correction of the pitch of this quaver – see the adjacent note. The absence of 3 out of 5 wedges in FESB is most likely the result of the carelessness of the engraver of this edition. In the main text we provide wedges according to A, taking into account Chopin's correction of the last quaver introduced in FE.

category imprint: Differences between sources

issues: Errors in FE , Errors resulting from corrections , GE revisions ,