mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

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. 161

composition: Op. 2, Variations, complete

Chords in AsI

Dyads in A (→GE→FE,EE,FESB)
..

The version of AsI, written here for the first time (see b. 135-139), undoubtedly presents the initial edition of the alternative accompaniment, generally based on three-note chords, as in the repetition of this phrase an octave higher (b. 165 and the analogous previous ones). Particularly on the 2nd quaver, there was initially an e-g-c1 three-note chord, in which Chopin removed c1, since it was present in the R.H. figuration, but probably added a c, which we give as the text of this source. 

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

issues: Accompaniment changes

b. 162

composition: Op. 2, Variations, complete

e in chord in AsI, contextual interpretation

g in chord in A (→GE→FE,EE,FESB)
..

The third (e) of the seventh chord present in AsI having been replaced with a g fifth seems to be the composer's mistake rather than an intended change. It is indicated by:

  • complete lack of the third of the chord on the 4th quaver in the bar in this version – performing the Variations solo,
  • e present in a respective chord in both analogous b. 138 and 146,
  • the presence of a third in the orchestral part, which, in this bar, is no different from both previous analogous places.

In this situation, in the main text we adopt the version of this chord written down in AsI, adding a  to that note, undoubtedly overlooked by inadvertence in this draft manuscript.
See also the note in the next bar.

category imprint: Differences between sources

issues: Errors of A

b. 162

composition: Op. 2, Variations, complete

f-a-c1 in AsI

c-f-a in A (→GE→FE,EE,FESB)
..

The correction entered into AsI on the 2nd quaver in the previous bar, which allows to avoid a situation in which c1 is played simultaneously by both hands, makes us think that Chopin wanted to change accordingly the 2nd quaver in the discussed bar too already back then; however, he implemented it only just in A.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes