mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 160

composition: Op. 2, Variations, complete

Triad in AsI & A (→GE→EE,FESB)

Sixth in FE
..

As before, in the main text we give a sixth, introduced by Chopin instead of a three-note chord while proofreading FE. In this bar, it is also AsI that provides the alternative L.H. part (featuring the three-note chord of the initial version). In this manuscript, a three-note chord – D-F-B – is also on the 4th quaver; however, F was eventually removed. See also the note in the next bar.

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

issues: Accompaniment changes , Authentic corrections of FE

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. 173

composition: Op. 2, Variations, complete

No ornament in AsI & A (→GE→EE,FESB)

in FE
..

Chopin added the mordent over the 1st note while proofreading FE. An ornament – , which is often tantamount to  in Chopin's works – is also in the flute part in AsI.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes

b. 175

composition: Op. 2, Variations, complete

Chords in AsI

Chords in A (→GE→EE,FESB)

Chord & octave in FE

Our alternative suggestion
..

The version of AsI fairly corresponds to the orchestral version, in which the 2nd and 3rd quavers are almost (in AsI) or completely (in the printed voices) identical, as far as the pitch is concerned. It was also in A (→GE→EE,FESB) that Chopin only complemented the R.H. chords. The proofreading of FE – undoubtedly Chopinesque – brought about a major change, and this is the version (the latest one) we give in the main text. An alternative proposal, analogous to the endings of Variation I and Variation III, takes into account a possible misunderstanding in implementing the proofreading corrections. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Main-line changes

b. 182

composition: Op. 2, Variations, complete

2 quavers e1 in AsI, contextual interpretation

2 quavers e1 in AsI, contextual interpretation

Semiquaver, demisemiquaver & quaver e1 in AsI, alternative version of b. 182', contextual interpretation

Crotchet e1 in A (→GE→EE,FESB)

e1 crotchet & demisemiquaver in FE, contextual interpretation

Completed FE version suggested by the editors
..

In the main text we give a version with e1 repeated at the end of the bar, introduced almost certainly by Chopin in the stage of proofreading FE. At the same time, we add a dot prolonging the a1 semiquaver, since the different values of the components of the a1-d2 fourth, neither musically nor pianistically justified, may be a result of inaccurately implemented proofreading corrections.
In GE1 (→EE) a dot prolonging the e1 crotchet played in the middle of the bar was added. The patent mistake was corrected by GE2 (→GE3,FESB), but not by FE.
In AsI, in b. 182' (the second record of this bar) there are two versions – the principal one, written in clear, normal-sized script, and the alternative one, superimposed on the previous one in a draft form.
A few authentic versions of this place show that Chopin changed his mind on the repetition of e1 in the 2nd half of the bar twice – in AsI (all versions) on the 4th quaver in the bar, in A without repetition, in FE at the end of the bar.
In the provided variants we also included the different values of the last two R.H. notes – semiquavers in AsI (version of b. 182), dotted rhythm in all the remaining versions.
There is a similar situation in b. 198.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE