mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 265

composition: Op. 2, Variations, complete

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In the entire G major section of Variation V (bars 263-268), the pedalling markings are written in A rather carefully; however, it can be seen that more attention was paid to keeping the marks on the same level than to their correct alignment. In particular, the  marks in bar 265 are written before the bass D notes, as a result of which the preceding  marks had to be written sufficiently earlier. It did not lead to a significant inaccuracy at the end of bar 264; however, on the 2nd beat of bar 265, the  mark actually falls before the d-a-c1 quaver. Such an early pedal release could not have been intended by Chopin, since the  and  marks are written next to each other and almost certainly simply indicate a pedal change.
The notation of the editions is similar to the notation of A; however, it is less confusing due to different proportions of gaps between the notes and due to the size of the marks.
FESB overlooked the  sign on the 2nd beat.

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

issues: Inaccuracies in A ,

b. 266

composition: Op. 2, Variations, complete

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As in bar 265, the pedalling marks in the 1st half of the bar are inaccurately aligned in A – the first  mark is written as early as under the chord on the 2nd quaver in the bar, while the next  mark – directly behind it, still before the d1 crotchet in the top voice. However, as the 2nd, 3rd and 4th quavers in the bar are written very close to each other, one can guess that the inaccurate alignment resulted from lack of space; consequently, in the editions the notation was corrected in accordance with the analogous places and the pianistic sense.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Inaccuracies in A

b. 267

composition: Op. 2, Variations, complete

2 semiquavers in AsI & A (→GE→FESB)

Dotted rhythm in FE & EE
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In the version of AsI and A (→GE→FESB) the dot prolonging g1 refers to the quaver and indicates that it should be held to c2 (actually to g1, which must be played again). In the version of FE1 and EE this dot refers to – also or only – the semiquaver, as a result of which the next note must be shortened. It is difficult to say whether the emergence of the other version in FE1 resulted from Chopin's proofreading or from the interpretation of the slightly misleading Chopinesque notation by the engraver or reviser, as in EE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE , FE revisions , Dotted or even rhythm , Inaccuracies in A

b. 270

composition: Op. 2, Variations, complete

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In this entire bar, in AsI and A there is only one  raising a1 to a1 before the 1st semiquaver. In GE (→FE) accidentals were added to a2 in the 3rd semiquaver and to a in the 2nd half of the bar. An accidental to a3 is present only in EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 287

composition: Op. 2, Variations, complete

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In all sources, the dashes marking the range of the indication from bars 282-283 run continuously to the end of the tutti in bar 290. Except FE1 (→FE2), in which there is a simple octave sign, indicating that the given fragment is to be performed an octave higher, the notation seems to be simplified, since the chordal texture on the 3rd beat of bar 287 makes a performance with added octaves (con 8va) impossible. In the content transcriptions (the versions "edited text") and in the main text we specify this notation accordingly by inserting 8 on the 3rd beat of bar 287.

One can also ponder whether Chopin wanted "con o in", which seems to have been added before a simple octave sign (8va¯ ¯ ¯) in A, to be understood as "in octaves" initially and "an octave higher" from the 3rd beat of bar 287. In other words, it would be a joint instruction on how to perform the entire tutti, and not a description of two possible performances of the first phrase. Chopin would then expect a common-sense approach from the performer, who would have to guess that first, as long as possible, it is con 8va that is valid, and then, from the 3rd beat of bar 287 – in 8va. However, such understanding is contested by the way the indication was used in the Fantasy on Polish Airs, Op. 13, bars 130-148, in a context that rules out such an interpretation – the entire theme, encompassed with the indication, is written there in single notes, hence there are no grounds to assign con 8va to one fragment and in 8va to another.

category imprint: Interpretations within context; Source & stylistic information

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Inaccuracies in A