Issues : EE revisions
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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. 55-61
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composition: Op. 2, Variations, complete
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Unlike in b. 16-17 and subsequent, GE arranged the L.H. notes correctly: it is clearly indicated that each of the 4 notes in each half-bar figure should be played separately (only at the beginning of b. 60 the second note – a dotted crotchet – is written too close to the minim, which could raise doubts if considered without the context of this entire fragment). In spite of that, FE combined the dotted crotchet with the minim in two places (at the beginning of b. 60 and at the beginning of b. 55), thus suggesting that they should be performed simultaneously (the same mistake was also committed at the beginning of b. 62). In FESB the L.H. arrangement is greatly inaccurate; however, the defects are due to carelessness, supposedly without influence on the understanding of the rhythmic structure of these bars. The boldest distortion is to be found in EE, in which in all places the dotted crotchets are combined with the preceding minims, which means that they are to be played simultaneously (also in b. 62). category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , FE revisions |
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b. 62
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composition: Op. 2, Variations, complete
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As in the previous bars, the engraver (reviser?) of EE changed the arrangement of the L.H. notes, as a result of which it seems that the dotted a and b category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE |
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b. 63
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composition: Op. 2, Variations, complete
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In A (→GE→FE) the sound of the last crotchet before the final passage may be questionable, since Chopin wrote it on the top stave, which is already under the influence of the octave sign. Therefore, when interpreted literally, it is an e category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions |
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b. 63
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composition: Op. 2, Variations, complete
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Starting from the f-c1-a1 chord, in EE the L.H. part is written down on the bottom stave in a treble clef. The clef was not cancelled until the very end of the bar, which is a patent oversight. We reproduce this notation in the graphic transcription (version "transcript"). In the content transcription (version "edited text"), we adjust the arrangement of EE to the remaining sources, which do not include clef changes. category imprint: Differences between sources; Source & stylistic information issues: EE revisions , Errors in EE , Errors resulting from corrections |
crotchets are to be played together with the f minims. The beginning of this bar is also one of the places in which this erroneous notation was also introduced by 
