mUltimate Chopin

Op. 2, Variations, complete

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Ornaments

b. 266

composition: Op. 2, Variations, complete

Arpeggio signs in Af

No signs in A (→GE→FE,EE)
..

In the main text we include the arpeggio wavy lines entered into Af. Their absence in A and all the editions seems to be a patent oversight, considering the span of the chords and the arpeggios in the preceding bar.

category imprint: Differences between sources

issues: Errors of A

b. 267

composition: Op. 2, Variations, complete

Grace note in AsI & A (→GE→FE,EE)

No grace note in FESB
..

The missing grace note is probably an oversight by the engraver of FESB; in this bar, he also overlooked 2 accents.

category imprint: Differences between sources

issues: Errors in FE

b. 267

composition: Op. 2, Variations, complete

in AsI & A (→GE→FE1,EE)

No ornament in FESB
..

The missing  mark in FESB must be an oversight of the engraver; in this bar, he also overlooked 2 accents and a grace note.

category imprint: Differences between sources

issues: Errors in FE

b. 283

composition: Op. 2, Variations, complete

 on b2 in AsI & FE1 (→FE2)

No ornament in A (→GE→FESB,EE1→EE2)

 on a2 in EE3
..

In the main text we include the  added by Chopin in FE, hence in the last formation stage of the text of the Variations. Its presence also in the earliest of the preserved sources, AsI, suggests that Chopin hesitated; however, it is likely that the composer simply overlooked the mark in A. Probably on the basis of a comparison with FE2, the ornament was also added in EE3; however, it was placed inaccurately, as a result of which it seems to concern the 2nd semiquaver on the 2nd beat, a2, which is a mistake.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Chopin's hesitations , Errors of A , Authentic corrections of FE

b. 320

composition: Op. 2, Variations, complete

..

The sources do not include an accidental over the mordent. In this harmonic context, the use of b is obvious, hence in the main text we add a  over the ornament. Chopin hardly ever put accidentals over trills or mordents in such situations, generally leaving the task of finding the right sound of the auxiliary note to the performer's imagination.

category imprint: Interpretations within context; Editorial revisions

issues: Omissions to cancel alteration , Inaccuracies in A