mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Errors repeated in GE

b. 161

composition: Op. 2, Variations, complete

..

As in b. 149, in the manuscripts the accidentals restoring c(1) and B (b) at the end of the bar are missing. The mistake was corrected only in FE and yet only partly by adding flats to the last demisemiquaver.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

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. 189

composition: Op. 2, Variations, complete

..

The flat restoring B is present only in AsI and FESB.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , Revisions in FESB

b. 231

composition: Op. 2, Variations, complete

..

In A the last two semiquavers in the parts of both hands are written down without any accidentals. Chopin's blatant oversight was corrected only by GE2 (→GE3,FESB), in which the necessary naturals and a cautionary  to e2 were added. In the main text we also add cautionary accidentals to e1 (which is absent in the editions – see the note below) and to a2.

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

issues: GE revisions , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 257

composition: Op. 2, Variations, complete

f3 in chord in AsI & A

d3 in Af, FE1 (→FE2) & GE2 (→GE3,FESB)

es3 in GE1 (→EE)
..

The version of AsI and A with f3 as the topmost note of the chord on the 2nd beat of the bar is almost certainly erroneous, and it was d3 that was intended by Chopin from the very beginning. It is supported by:

  • d3 here in Af, written almost certainly earlier than A;
  • melodic analogy between the motifs at the beginning of bars 255 and 257 and the ascending sixths, d1-d3-b3 and f1-f2-d3, respectively;
  • d3 in FE1 (→FE2), which, with respect to the erroneous version of GE1 (see below), must have resulted from proofreading, most probably Chopinesque;
  • the natural character of the octave piano position.

What is more, the discussed note is written in A inaccurately, hence in GE1 (→EE) it was reproduced as e3. In GE2 (→GE3,FESB) it was changed to d3, which could have been one of the changes suggested by Chopin, if we were to assume that he took part in the editing of GE2.

category imprint: Differences between sources

issues: Terzverschreibung error , GE revisions , Errors in the number of ledger lines , Errors of A , Inaccurate note pitch in A , Authentic corrections of FE , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE