mUltimate Chopin

Op. 2, Variations, complete

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b. 290

composition: Op. 2, Variations, complete

a2-c3 third in AsI & A

Single notes in GE (→FESB,EE1→EE2)

3 thirds in FE & EE3
..

The initial version of AsI and A, with only one a2-c3 third, was additionally depleted by GE (→FESB,EE1→EE2), which did not notice the a2 crotchet at the beginning of bar 291 (it can be difficult to establish the presence of a middle note on ledger lines in Chopin's autographs, although in this case the a2 notehead is quite distinct). While proofreading FE1 (→FE2) Chopin added bottom thirds to the entire three-note motif, which was also taken into account by EE3.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Errors in GE , Authentic corrections of FE , Uncertain notes on ledger lines

b. 290

composition: Op. 2, Variations, complete

Single L.H. notes & one-part notation of R.H. chord in AsI & A

Single L.H. notes & two-part notation of R.H. chord in GE (→EE,FESB)

L.H. octaves & R.H. sixth in FE1 (→FE2)
..

In GE (→EE,FESB) the R.H. part was retouched in the version of A – the chord and the sixth on the 2nd and 3rd beats of the bar were written down in two-part writing. It is uncertain whether it was an authentic change – it could have been introduced by the engraver or reviser in order to achieve homogeneous two-part writing.

However, much more serious changes – as was also the case with the previous bar – were introduced in the stage of proofreading FE1 (→FE2), which is proven by the visible traces of corrections, e.g. the outlines of the noteheads of the F and B quavers. At the same time, there is no doubt that they come from Chopin, hence we include them in the main text. In the changed version, an inaccuracy was committed – the f-f1 octave was mistakenly placed under the e2-c3 sixth, which can lead to a mistake in the interpretation of rhythm.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 291-292

composition: Op. 2, Variations, complete

..

In the tertial sequences in A and in all editions, there are no accidentals to the bottom note of the 2nd semiquaver on the 3rd beat of bar 291, which gives b2, the top note of the 1st semiquaver in bar 292 (b2) and the bottom note of the middle semiquaver in the triplet (b2). When interpreted literally, it is only the third one that sounds correctly; however, after adding the undoubtedly overlooked first two accidentals – a  to b2 and a  to b2, respectively – a  restoring b2 is necessary also there. We reproduce these patent mistakes only in the graphic transcriptions of the sources (the versions "transcript").

category imprint: Differences between sources

issues: Omissions to cancel alteration , Errors of A

b. 294

composition: Op. 2, Variations, complete

c1 in chord in AsI & A

No note in GE (→FE,EE)
..

The absence of c1 in the last chord is most probably an oversight by the engraver of GE (→FE,EE) caused by the notation of A, which is not entirely clear. The presence of this note in AsI, however, is a strong argument for a similar interpretation of the notation of A.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A

b. 295

composition: Op. 2, Variations, complete

Arpeggio from 2nd semiquaver in AsI

Arpeggio from 3rd semiquaver in A (→GE→FE,EE)
..

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Main-line changes