mUltimate Chopin

Op. 2, Variations, complete

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Ornaments

b. 191

composition: Op. 2, Variations, complete

Grace note f1 in AsI

Grace note g1 in Af & A (→GE→FE,EE,FESB)
..

In AsI the grace notes are written down in a draft manner – they lack the beam, which must be a simplification of the intended notation in the form of demisemiquavers, while f1 being the second one is almost certainly an inaccuracy or – which is more likely if we consider the clear notation – a mistake.

category imprint: Differences between sources

b. 193

composition: Op. 2, Variations, complete

Turn & grace note in AsI

Trill with ending in remaining sources
..

AsI presents an earlier version of the ornament on the 2nd quaver of the bar. It is also possible that all the grace notes were added later, so that the original version did not contain any ornamentation.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 199

composition: Op. 2, Variations, complete

No ornament in AsI

Trill without ending in A (→GE→FE,EE,FESB)

Our variant suggestion
..

As in bar 127, in the main text we propose in variant form (in brackets) the ending of the trill that appears in the 1st violin part in GEork (→FEork). The lack of an ornament in the piano part of AsI may be the result of a short, hasty notation – it appears in the 1st violin part in this manuscript.

category imprint: Editorial revisions

b. 239

composition: Op. 2, Variations, complete

Trill without ending in AsI & A (→GE→FE,EE,FESB)

Our variant suggestion
..

As in bar 127, in the main text we propose in variant form (in brackets) the ending of the trill that appears in the 1st violin part in GEork (→FEork).

category imprint: Editorial revisions

b. 256

composition: Op. 2, Variations, complete

No accidental in sources

 over trill suggested by the editors
..

In the main text we add a cautionary  over the trill. In spite of the fact that Chopin considered g notes in a diminished tetrad (on which the 2nd half of the previous bar is based) to be obvious (he did not put naturals to them), in this case he almost certainly did not mean g, which, coupled with an F major chord, would give an impression of temporarily departing from the key of B minor. Taking into account the fact that this key was introduced as a contrast and variety with respect to the previous variations, it is impossible that Chopin would have liked to relativise the tonal awareness. 

category imprint: Editorial revisions