mUltimate Chopin

Op. 2, Variations, complete

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Slurs

b. 64

composition: Op. 2, Variations, complete

Whole-bar slur in AsI

Slur from 2nd quaver to b. 65 in A

Slur from 1st quaver to b. 65 in GE (→FE,EE,FESB)
..

In the main text we give the slur of A, compliant with the slurs in the subsequent appearances of this motif. The slur of GE1 and the remaining editions, starting earlier, must be an inaccuracy, although it is difficult to say whether it was a routine revision or a mistake.
The slur of AsI, the only one in the first part of the theme (b. 64-79), is, as it seems, of a general nature (it announces some kind of slurring) and cannot be considered reliable.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 83

composition: Op. 2, Variations, complete

Slur over demisemiquavers in AsI

Slur over motif in A (→GE→FE,EE,FESB)
..

The sporadic slurs of AsI – in the entire Theme Chopin wrote only 3 slurs, which are also the only performance indications – are clearly of an accidental nature and cannot be treated in the same way as the slurs of A.

category imprint: Differences between sources

b. 94

composition: Op. 2, Variations, complete

4 notes in AsI, original version

6 notes in AsI, supplemented version

Slur from a1 in A, possible interpretation

Slur from b1 in A, literal reading

2 slurs, lower from b1 in GE (→FESB)

2 slurs, lower from a1 in FE & EE
..

In AsI there are two versions of the group of demisemiquavers: a 4-note one, as in bar 78, and a supplemented 6-note version, as in the remaining sources – see the note above. The meaning of the arc entered under this group is not clear – we assume that it is a tie to a1, but it is possible that it was intended to be a slur referring to demisemiquavers. The range and meaning of the corresponding slur in A and GE1 (→GE2) are also unclear; consequently, each source can be interpreted twofold. Moreover, in GE (→FE,EE,FESB) a second slur was added over the group (most probably arbitrarily). All in all, there are 4 different combinations of slurs, out of which to the main text we choose the slur of A, interpreted literally.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , GE revisions , Triplet slurs

b. 107-108

composition: Op. 2, Variations, complete

Slurs in A, contextual interpretation

Slurs in GE (→FE,EE)

Slurs in FESB
..

At the end of b. 107, it is uncertain which R.H. voices the slurs of A concern – practically, each combination of two out of three voices is possible. On the basis of a comparison with analogous b. 123, we assume that they concern the two bottom voices. This is how it was interpreted, more or less, in GE (→FE,EE), in which, however, the top slur begins only just over the last semiquaver, while the bottom one reaches d1 and not b1 at the beginning of b. 108. The notation was further distorted in FESB.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FESB

b. 135-136

composition: Op. 2, Variations, complete

No slur in A (→GE→FE,FESB,EE1→EE2)

Slur in b. 135 in EE3

Slur to b. 136 suggested by the editors
..

In the main text we suggest adding a slur after the authentic solo part slurs. Cf. also the L.H. slurs in the version for one piano in b. 136-137 and 137-138. The slur added in EE3 was modelled on the L.H. slur of the solo part, inaccurately reproduced by EE1 (→EE2).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions