mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Articulation, Accents, Hairpins
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Articulation, Accents, Hairpins

b. 30

composition: Op. 2, Variations, complete

in A

 in GE (→FE,EE,FESB)
..

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins , GE revisions

b. 35-36

composition: Op. 2, Variations, complete

4 staccato dots in A

8 wedges in GE (→FE,EE,FESB)

8 dots suggested by the editors
..

In A the staccato markings over the semiquavers are evidently represented by dots and clearly differ from, e.g. the wedges at the beginning of b. 35 or b. 39. According to us, the wedges in GE (→FE,EE) were an arbitrary decision of the engraver, who blithely approached the Chopinesque staccato markings on a number of occasions – cf., e.g. b. 10. By contrast, adding marks on the 4th beat of the bar, although without effect on performance – in both cases the marks serve as an example and should be propagated to all semiquavers in these bars – seems to be justified and may have come from Chopin (see also the note on b. 39-40). However, we believe that these two issues can be considered independently, hence in the main text we give dots (after A) in the entire 2nd half of the bar (after GE1).

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE , Wedges

b. 35-37

composition: Op. 2, Variations, complete

Wedges in A (→GE→FE,EE)

No marks in FESB
..

category imprint: Differences between sources

issues:

b. 39-40

composition: Op. 2, Variations, complete

4 wedges in A

8 wedges in GE (→FE,EE,FESB)
..

In the main text we include the staccato marks on the 4th beat of the bar, added in GE (→FE,EE,FESB). It is noteworthy that in A Chopin added the staccato indication after eight semiquavers, which suggests that he considered that the 4th beat of b. 39 (and most probably of b. 35 too), identical to the third one, would naturally "inherit" the articulation markings of the preceding one. Therefore, although the authenticity of the very marks is not entirely certain, the authenticity of the articulation they indicate absolutely is.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 39

composition: Op. 2, Variations, complete

in A (→GE→EE,FESB)

No sign in FE
..

In the main text we keep the  hairpin present in A (→GE→EE,FESB). It seems that an oversight of the engraver of FE1 (→FE2) is a more likely explanation for its absence than a possible removal of the mark by Chopin (which he could have done while proofreading FE1).

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE