mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 253

composition: Op. 2, Variations, complete

g in AsI, FE & EE3

g in A (→GE→FESB,EE1→EE2
..

The missing  lowering g to g in A and the majority of the editions must be Chopin's mistake, which is proven by g present in AsI (both in the piano and the orchestral part) and in the violas and the bassoon in GEork (→FEork). In addition, the accidental was added, probably by Chopin, in the stage of proofreading FE; it is also in EE3.

category imprint: Differences between sources

issues: EE revisions , Errors of A , Authentic corrections of FE

b. 257

composition: Op. 2, Variations, complete

e & g in #ApI, Af, A & FE

e & g in GE1 (→EE)

e & g in GE2 (→GE3,FESB)
..

We give the last chord as written down in AsI, Af and A, without any doubts, and as restored – almost certainly by Chopin – in the stage of proofreading FE1. The versions of GE1 (→EE) and GE2 (→GE3,FESB), both musically possible, although less natural than the text of A, most probably resulted from revisions, suggested by the apt additions to the 2nd half of bar 255, introduced just before – the reviser of GE1 added there 3 naturals raising e2, e1 and e to e2, e1 and e, while the reviser of GE2 4 naturals raising g1 to g1 in the L.H. and g2, g1 and g to g2, g1 and g in the R.H.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE

b. 257

composition: Op. 2, Variations, complete

f3 in chord in AsI & A

d3 in Af, FE1 (→FE2) & GE2 (→GE3,FESB)

es3 in GE1 (→EE)
..

The version of AsI and A with f3 as the topmost note of the chord on the 2nd beat of the bar is almost certainly erroneous, and it was d3 that was intended by Chopin from the very beginning. It is supported by:

  • d3 here in Af, written almost certainly earlier than A;
  • melodic analogy between the motifs at the beginning of bars 255 and 257 and the ascending sixths, d1-d3-b3 and f1-f2-d3, respectively;
  • d3 in FE1 (→FE2), which, with respect to the erroneous version of GE1 (see below), must have resulted from proofreading, most probably Chopinesque;
  • the natural character of the octave piano position.

What is more, the discussed note is written in A inaccurately, hence in GE1 (→EE) it was reproduced as e3. In GE2 (→GE3,FESB) it was changed to d3, which could have been one of the changes suggested by Chopin, if we were to assume that he took part in the editing of GE2.

category imprint: Differences between sources

issues: Terzverschreibung error , GE revisions , Errors in the number of ledger lines , Errors of A , Inaccurate note pitch in A , Authentic corrections of FE , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE

b. 257

composition: Op. 2, Variations, complete

..

The first and last notes of the group of 4 small notes ending the trill are written in A (→GE1→EE,GE2→GE3,FESB) without accidentals. The use of G at the beginning of this group, natural in this context, is confirmed by the  of AsI and by the  added – along with a cautionary  to g – in the stage of proofreading FE1.

category imprint: Interpretations within context; Differences between sources

issues: Cautionary accidentals , Errors of A , Authentic corrections of FE , Last key signature sign

b. 257

composition: Op. 2, Variations, complete

..

In A there are no accidentals to the 2nd and 3rd R.H. chords. The missing accidentals were gradually added by the subsequent editions – in GE1 (→GE2) both accidentals to the 2nd chord were added, while in EE1 a  to the 3rd chord was also added (a  was not necessary due to the wrong pitch of the topmost note). The remaining editions – FE, EE3 and GE3 – include all the necessary accidentals.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , FE revisions , Inaccuracies in A