Shorthand & other
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b. 306-307
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composition: Op. 2, Variations, complete
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In the sources the L.H. octaves are written down in an abridged manner – under the line of their top notes, a con 8va indication or its equivalent is placed: We reproduce this notation, not very exact, only in the graphic transcription – we leave the determination of whether the indication applies only to the sequence of the bass voice and not to the bottom notes of the R.H. part to the judgement of the performer. category imprint: Editorial revisions issues: Abbreviated octaves' notation |
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b. 319-320
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composition: Op. 2, Variations, complete
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In each of these bars the notation of the top notes of the 6 subsequent thirds with a smaller font was introduced – certainly by Chopin or in agreement with him – in FE1 (→FE2). In his entire oeuvre, Chopin published such a simplified, alternative version, written down in such a manner, only 2 times, actually in a very similar context of a descending, chromatic sequence of sixth chords, the middle notes of which, performed by the L.H. together with the bottom ones, can be left out. Such notation is to be seen in the Grand Duo Concertant for piano and cello, Dbop. 16, bars 247-250. Remarkably, the Parisian editions of both pieces appeared in 1833; therefore, it could have been the work on the Grand Duo that suggested him the idea to introduce a similar solution in the Variations as well. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 338
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composition: Op. 2, Variations, complete
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In A the division of the L.H. part into voices is irregular and at times difficult to implement in print. It seems to have resulted from introducing changes (not entirely thought out) to the notation of the first two quavers – Chopin probably started from one-part notation category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Inaccuracies in GE , Corrections in A , GE revisions |
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b. 343
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composition: Op. 2, Variations, complete
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The version of GE (→EE,FESB) resulted from a mistake by the engraver of GE1, who did not notice that the B category imprint: Differences between sources issues: Errors in GE , Authentic corrections of FE |
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b. 343-348
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composition: Op. 2, Variations, complete
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In bars 343-344 and 347-348 in both manuscripts Chopin used abbreviations to write down the repeated R.H. triplets. In AsI he wrote all triplets (except the first one) this way in each bar. In A the notation is very similar – it is only in bar 343 that the first three triplets are written out with notes. category imprint: Differences between sources issues: Abbreviated notation of A |
, out of which he then separated the two top voices on the 1st beat. In this situation, the simpler version of 
-b
