mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 54

composition: Op. 2, Variations, complete

Notation in A

Notation in GE (→FE,EE,FESB)

Notation suggested by the editors
..

In the main text we reproduce the notation of A, in which the dotted b2 crotchet opening the replica of the flute part is written over the 2nd semiquaver of the solo part. It seems to be a suggestion concerning the way the replica could be combined with the solo part while performing the piece without accompaniment – if we shift the moment the b2 note should be played, which is to the 2nd semiquaver, we are then able to play the entire replica with the L.H. (in the main text we add a hint signalising such a possibility). However, ascribing the aforementioned meaning to this detail could be questioned by pointing to the irregular arrangement of the replica notes in the 2nd half of the bar, where the placement of notes cannot correspond to the performance. However, the notation of the 2nd half of the bar probably results from a clumsy attempt to avoid a clash of notes with other elements of notation,  and the quaver flag of c2. In the case of b2, however, such an explanation is unconvincing. Moreover, a strong argument for Chopin planning the flute phrase to be performed with the left hand is the pedalling – the fact that it is marked in this very bar is best explained by the need to hold the bass note without using the left hand, which can then perform the melody over the R.H. figuration.
In the editions, the particular notes of the replica were arranged in accordance with the rhythmic values.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in A

b. 63

composition: Op. 2, Variations, complete

Only staccato in AsI

staccato ma leggier. in A (→GE→FESB)

staccato leggiero in FE

staccato ma leggiero in EE
..

In the main text, we keep the extended performance indication as provided in A (→GE→FESB). In the remaining editions, the Chopinesque leggier. abbreviation, not entirely clear, was replaced with leggiero, the meaning of which (but not the form) most probably corresponds to the indication intended by Chopin – see the note to b. 14. At the same time, in EE there are more abbreviations, while in FE1 (→FE2) the word 'ma' was omitted; those changes almost certainly resulted from revision or the engraver's inaccuracies.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , GE revisions , FE revisions , Inaccuracies in A

b. 119

composition: Op. 2, Variations, complete

..

There is only one  before the chord at the beginning of the 2nd half of the bar in AsI and A, a  to the bottom note (the b2 semiquaver). What is more, in A the accidental was written inaccurately, above the semiquaver, as a result of which GE1 assigned it to d3. Both missing naturals were added in the stage of proofreading of that edition. Chopin's patent oversight was corrected right away in GE1, hence all editions contain the right text (the fact that the  to d3 was printed first is evidenced by the arrangement of the naturals and by the slight difference in size between the  of d3 and the two remaining ones). 

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A , Accidental below/above the note , Inaccuracies in A

b. 188

composition: Op. 2, Variations, complete

No ornament in AsI

 in A (→GE→FE,EE,FESB)

 with  suggested by the editors
..

The missing trill in AsI is most probably related to the different shape of melody and rhythm in the ending of the bar – see the next note.

As in the case of b. 184, none of the sources includes a mark that would specify the sound of the trill'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 a . 

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

issues: Main-line changes , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 255

composition: Op. 2, Variations, complete

..

As far as the naturals raising e to e in the 2nd half of bar 255 are concerned, in A Chopin was satisfied with accidentals to the L.H. chord (e1) and the 3rd demisemiquaver (e3). The remaining 3 naturals necessary later in the passage were added by GE (→FE,EE).
In EE the  to the L.H. chord, which was placed slightly too low in GE1, was interpreted as a natural raising d1 to d1.
In A the  to e3 is written too low, at the pitch of c3. Such inaccuracies are often to be found in Chopin's autographs, generally – as is the case here – with no influence on the interpretation of the text.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Accidentals in different octaves , Inaccuracies in GE , Errors in EE , GE revisions , Accidental below/above the note , Inaccuracies in A