mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : FE revisions

b. 180

composition: Op. 2, Variations, complete

in A (→GE1→GE2)

 in FE & EE

 in FESB

in GE3
..

According to the editors, the  sign in A (→GE1→GE2) is entered imprecisely because it includes a rest during which a crescendo cannot be started. In the main text, we give it a scope analogous to the next such sign. A similar interpretation is used in FE and EE, as well as in FESB, in which, however, the sign is reversed (diminuendo instead of crescendo). It's hard to say whether this was an intentional change or a mistake. On the contrary, in GE3 the sign was slightly extended, which was probably a revision.

category imprint: Differences between sources

issues: EE revisions , Scope of dynamic hairpins , GE revisions , Sign reversal , FE revisions , Revisions in FESB ,

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. 237

composition: Op. 2, Variations, complete

..

In GE1 (→FE1,GE2), the  raising b1 to b1 is before the 1st third. Interestingly enough, it is not a common mistake but a wrong revision, since the traces of corrections in print (visible particularly in GE2) reveal that initially the text was printed correctly, with a  before the 3rd semiquaver. In FE2, EE, FESB and GE3, the  was moved to the right place, while in EE another natural was added, a cautionary one to g1 in the 1st third. We include this cautionary accidental also in the main text, hence our text is identical to version of EE.

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

issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions , Errors repeated in FE

b. 257

composition: Op. 2, Variations, complete

..

In A there are no accidentals to the 2nd and 3rd R.H. chords. The missing accidentals were gradually added by the subsequent editions – in GE1 (→GE2) both accidentals to the 2nd chord were added, while in EE1 a  to the 3rd chord was also added (a  was not necessary due to the wrong pitch of the topmost note). The remaining editions – FE, EE3 and GE3 – include all the necessary accidentals.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , FE revisions , Inaccuracies in A

b. 259

composition: Op. 2, Variations, complete

e2 together with f1 in AsI, Af & A (→GE→FESB)

e2 after f1 in FE & EE
..

The version of notation of FE and EE, in which the semiquaver of the top voice was placed after the 3rd quaver of the triplet in the remaining voices, is contrary to the Chopinesque understanding of this combination of rhythms – see bars 45-46. Interestingly, the engraver of FE consistently forced his version of notation (contrary to the basis), whereas the engraver of EE decided to depart from the basis only here.

category imprint: Differences between sources

issues: EE revisions , FE revisions