mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 183

composition: Op. 2, Variations, complete

f2-b2, 4-note chords in AsI

b2-b3, 4-note chords in A (→GE→EE,FESB)

b2-b3, 3-note chords in FE
..

The 2nd and 3rd quavers in b. 183(2v) were changed twice by Chopin. In AsI the top notes of the chords constitute a fourth leap: f2 (the 2nd quaver), b2 (the 3rd quaver). At the same time, one can see that Chopin marked the already later version, written down in A, featuring b2-b3. In both manuscripts the chords are full, containing 4 notes each. The final version, in which f2 was removed from the chord on the 2nd quaver and f3 from the chord on the 3rd quaver, must be a result of Chopin's intervention in the stage of proofreading FE. The same applies to b. 199.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 198

composition: Op. 2, Variations, complete

Tied quaver e1 in AsI, contextual interpretation

Crotchet e1 in A & GE2 (→GE3,FESB)

Quaver e1 in GE1 (→EE)

Quaver & demisemiquaver e1 in FE

Completed FE version suggested by the editors
..

As with b. 182, in the main text we give the version with e1 repeated at the end of the bar, introduced in the stage of proofreading FE. At the same time, we do not accept the fact that the e1 crotchet played in the middle of the bar should be shortened (to a quaver) – it is probably a mistake or revision by GE1 (→FE,EE), which was corrected by GE2 (→GE3,FESB). However, we add a dot extending the a1 semiquaver, since we are convinced that its absence in FE resulted from inaccurate or simplified proofreading.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

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

b. 205-206

composition: Op. 2, Variations, complete

f-b in AsI & A (→GE→EE,FESB)

f1-b1, a1 in FE
..

We provide the version that Chopin enhanced while proofreading FE. Moving the horn motif an octave higher could have been aimed at avoiding a false relation: f in bar 205 with f1 at the beginning of bar 206. Moreover, the composer could have also wanted to avoid the clash – quite monotonous on the piano – with an identical motif ending the bassoon phrase.

category imprint: Differences between sources; Corrections & alterations

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

b. 207

composition: Op. 2, Variations, complete

Chords in AsI

Chords in A (→GE→EE,FESB)

Chord & octaves in FE
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In the stage of proofreading FE, the ending of this tutti underwent a similar change as in the previous variation. Eventually, in the version for one piano, all four endings – of the Theme and the first three variations – were given a similar form, with a chord in a higher register (in open position) on the 2nd quaver and a doubled or tripled b root on the third one.

category imprint: Differences between sources; Corrections & alterations

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

b. 237

composition: Op. 2, Variations, complete

..

In GE1 (→FE1,GE2), the  raising b1 to b1 is before the 1st third. Interestingly enough, it is not a common mistake but a wrong revision, since the traces of corrections in print (visible particularly in GE2) reveal that initially the text was printed correctly, with a  before the 3rd semiquaver. In FE2, EE, FESB and GE3, the  was moved to the right place, while in EE another natural was added, a cautionary one to g1 in the 1st third. We include this cautionary accidental also in the main text, hence our text is identical to version of EE.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions , Errors repeated in FE