mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Accidentals in different octaves

b. 324-325

composition: Op. 2, Variations, complete

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As in bars 321-322, Chopin did not write in A accidentals to the last semiquaver of each beat of these bars. All necessary accidentals were already added in GE (→FE,EE).

category imprint: Interpretations within context; Differences between sources

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

b. 325

composition: Op. 2, Variations, complete

d3 in AsI

e3 in A (→GE→FE,EE), literal reading

e3 suggested by the editors
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The pitch of the 2nd semiquaver in the 5th triplet is questionable – when interpreted literally, it is an e3; however, in all analogous places a respective note is placed a fifth (perfect) lower than the previous one, in this case e3, which suggests Chopin's possible mistake. In uneven triplets, the 2nd and 3rd semiquavers melodically combine with the next triplet, which Chopin carefully marked with R.H. slurs; however, this does not determine their harmonic affiliation. The latter is determined by the L.H. sequence (with different slurs!), consisting of D-T sequences filling two subsequent quavers, which, in turn, is clearly signalled by the bass voice beams. If we also take into account Chopin's tendency to forget about previous alterations (in this case it is really far – this is the only bar within bars 321-329 in which the 1st semiquaver is altered), an accidental oversight of a  restoring e3 seems very likely. Therefore, the absence of a  to the unquestionable e3 in the next triplet belongs to Chopin's typical inaccuracies – it is a note belonging to the current chord (A major) and was marked a semiquaver earlier in the L.H. part. Taking into consideration the above, in the main text we suggest adding accidentals so that the discussed fragment of the progression does not deviate from the binding scheme.

In AsI the 5th triplet in the bar is presented in the initial form (see also bar 328), in which the problematic note is absent. The introduction of a change in this place is an argument for Chopin's mistake in A, since corrections narrow down the attention field, which is conducive to errors.

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

issues: Accidentals in different octaves , Omissions to cancel alteration , Errors resulting from corrections , Errors of A , Main-line changes

b. 327-328

composition: Op. 2, Variations, complete

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As in previous analogous sequences, Chopin did not see the reason to write accidentals to the topmost notes of the ascending triplets. In GE1 (→FE,EE) only 2 sharps in bar 328 were added, c3 and g3, while in GE2 (→GE3,FESB) a  to e3 was also added. The two necessary sharps in bar 327 were added only in GE3 and FESB.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , FE revisions

b. 329-330

composition: Op. 2, Variations, complete

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As in many similar situations, in A the majority of the necessary accidentals are missing – Chopin wrote accidentals only to the 2nd quaver in bar 329 (e2-e3-g3-e4) and the next semiquaver (b3), the penultimate semiquaver in bar 329 (b1), the bottom note of the 2nd triplet in bar 330 (g) and the bottom note of the 6th triplet in bar 330 (d1). Assuming that the accidentals of the first two-quaver figure of the passage are also valid in the second one, all necessary accidentals were already added in GE1 (FE,EE,GE2→FESB,GE3). In FE a  to e2 on the 4th L.H. quaver in bar 329 was also added. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Omission of current key accidentals , FE revisions

b. 331

composition: Op. 2, Variations, complete

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In AsI and A there is no  to the 2nd semiquaver (E), while in A also no  to the 13th semiquaver (f). The accidentals were added in GE (→FE,EE). In AsI Chopin did not forget , since he enharmonically wrote the preceding note as f. In the main text we add a cautionary  to the 4th semiquaver (G).

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

issues: Accidentals in different octaves , GE revisions , Enharmonic corrections