mUltimate Chopin

Op. 2, Variations, complete

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Verbal indications

b. 64-87

composition: Op. 2, Variations, complete

..

In AsI the Theme is written down as a draft, without almost any indications or performance markings. The only exceptions are the initial Allegretto =58 and three slurs in b. 64, 83 and 94. Further on, we do not comment on the absence of particular markings; however, we discuss the aforementioned bars in terms of differences in slurring taking into account the version of AsI.

category imprint: Differences between sources; Source & stylistic information

b. 94

composition: Op. 2, Variations, complete

leggier. in A (→GE→FE,FESB)

leggiero in EE
..

In the main text we keep the ambiguous Chopinesque leggier. abbreviation, since all its possible explanations have a similar meaning. We regard the leggier(a)mente adverbial form as the most likely possibility. The equivalent leggiero adjective form (present in EE) includes as many characters as the abbreviation used, hence it is unlikely that it could have been intended by Chopin. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions

b. 104-109

composition: Op. 2, Variations, complete

..

In AsI Var. I is written as a draft, without almost any performance markings. In the discussed bars, the exception is the metronome marking provided at the beginning, =76. We do not comment on the lack of particular markings further on. 
See also b. 110-122.

category imprint: Differences between sources

issues: Metronome tempos

b. 110

composition: Op. 2, Variations, complete

in A

 in GE (→FE,EE,FESB)
..

The letter 'z' in the  marking was omitted in the first editions of Chopin's works several times – cf., e.g. the Etude in C minor, Op. 10 No. 4, b. 1.
The erasure visible in A suggests that Chopin initially wrote there a , which, in turn, indicates that there is a difference in meaning between  and ; however, it is unclear what the difference actually is. According to us, it is likely that  could be associated with an isolated or a target accent, after which the current course is not continued anymore. On the other hand, , applied in the Variations much more often and always accompanied by an accent, usually long, or a  hairpin, generally implements the appoggiatura dynamic scheme – it emphasises the first out of the pair of the concerned notes.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors in GE , fz – f

b. 133

composition: Op. 2, Variations, complete

No indication in sources

[Oboe] suggested by the editors
..

In the main text we supplement the imprecise piece of information concerning the instrumentation – in the sources of the orchestral part, including AsI, the last semiquavers in b. 133 and the topmost voice until the 1st quaver in b. 135 are performed by the oboe, joined by the clarinets (and the bassoon) only just in b. 134.

category imprint: Editorial revisions