Issues : Inaccuracies in A
b. 50
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composition: Op. 2, Variations, complete
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We reproduce the notation of A, in which the length of the accents regularly decreases, which may suggest, e.g. that they should be each time milder, considering the calando. Such a graphical notation is to be found in a more complex form in the Polonaise in F minor, WN 12, in the autograph of which we can see in b. 79 a sequence of 6 notes marked diminuendo, provided with increasingly shorter accents. In the case of three accents only, it is, however, uncertain whether Chopin indeed wanted to suggest the pianist a certain performance idea; therefore, in the main text we interpret these marks in a standard manner, as long accents (written down inaccurately). This is how they were reproduced by GE1 (→GE2,FE1). The short accents of FESB and the vertical ones of EE are arbitrary changes, while the omission of the marks in GE3 – a mistake. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in FE , Errors in GE , Inaccuracies in A |
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b. 50
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composition: Op. 2, Variations, complete category imprint: Interpretations within context; Differences between sources issues: GE revisions , Inaccuracies in A |
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b. 54
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composition: Op. 2, Variations, complete
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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. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in A |
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b. 63
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composition: Op. 2, Variations, complete
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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 |
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b. 119
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composition: Op. 2, Variations, complete
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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 |