|
b. 200-202
|
composition: Op. 2, Variations, complete
..
The semiquavers appearing in bars 200 and 202 in AsI are the original version, since dotted rhythms appear both in A and editions, as well as in printed orchestral parts. However, in the orchestra part of AsI, the situation is not so clear. Its notation in bars 200-202 is short – only the part of the first violins and cellos with double basses and "as above" repeated several times, which probably refers to the previous Tutti. In bar 200, the violin part has a dotted rhythm (written incorrectly, perhaps added in a hurry), and the bass part has a semiquaver rhythm. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Main-line changes |
||||||||
|
b. 203
|
composition: Op. 2, Variations, complete
..
As in many other places (see e.g. bars 271-272), the engraver of GE1 ignored the differentiation of staccato marks and replaced the dots with wedges. category imprint: Differences between sources issues: GE revisions , Wedges |
||||||||
|
b. 205-206
|
composition: Op. 2, Variations, complete
..
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 f category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Main-line changes |
||||||||
|
b. 206
|
composition: Op. 2, Variations, complete
..
In Af and A there is no category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
||||||||
|
b. 207
|
composition: Op. 2, Variations, complete
..
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 category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Bass register changes , Main-line changes |
in 
1 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.
restoring f1 in the 2nd half of the bar. The error has already been corrected in 
