mUltimate Chopin

Op. 2, Variations, complete

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Rhythm

b. 63

composition: Op. 2, Variations, complete

No chord in AsI

Minim c1 in A (→GE1→GE2)

Minim a1 in FE

Minim c1 with rest in EE

Semibreve a1 in FESB

Minims f & c1 in GE3

3 dotted minims suggested by the editors
..

Chopin would often differentiate the rhythmic values of a chord written on one stem. However, in this case one could have doubts whether the missing dot to c1 in A (→GE1→GE2,FESB) did not result from distraction. A possible earlier release of this key does not affect the sound, since the pedal pressed at the beginning of the bar is still to be held. Another issue could be the e1 crotchet: making it easier to play it or indicating that the e1 note falls already after two and not three crotchets. None of the above reasons seems plausible enough, hence in the main text we add a respective dot. In the other editions, the notation of this chord contains mistakes or revisions:

  • In FE the dot of a1 was overlooked, yet a dot to c1 was added;
  • EE added a crotchet rest after the c1 minim;
  • in FESB the dotted a1 minim written on the top stave is devoid of a stem, hence it looks like a semibreve (in this edition there is no difference between the minim and semibreve noteheads);
  • GE3 overlooked the dots to c1 and f.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Errors in GE

b. 63

composition: Op. 2, Variations, complete

7 notes in AsI, possible interpretation

6 notes in AsI, contextual interpretation

6 notes in A (→GE→FE,EE,FESB)
..

category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Terzverschreibung error , Errors in the number of ledger lines , Rhythmic errors

b. 63

composition: Op. 2, Variations, complete

Crotchet in AsI

Minim in A (→GE→FE,EE,FESB)
..

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

b. 64-84

composition: Op. 2, Variations, complete

No beams in AsI & A

Beamed quavers in GE (→FE,EE,FESB)
..

In the main text we keep the unbeamed notation of the L.H. quavers, consistently used by Chopin both in AsI and A. Wherever an entire bar includes only such quavers (unbeamed), in GE (→FE,EE,FESB) the quavers were beamed in twos or fours. This was probably aimed at facilitating the engraving by reducing the number of elements of notation. Such changes in beaming are also in the R.H. as well as in further variations. We comment on them and reproduce them only in cases where a significant number of changes impacts the general graphic representation of the text – see Variation IV.

category imprint: Differences between sources

issues: GE revisions

b. 69

composition: Op. 2, Variations, complete

..

Chopin erroneously wrote the syncopated c2 note on the 2nd quaver in the bar as a double dotted crotchet. The mistake was only noticed by FESB, which tried to amend it by replacing the dots with a semiquaver, connected to the crotchet by a tie (in this place there is actually no tie, but this must have been the reviser's intention, which is proven by the ties in analogous situations in b. 77 and 89). Rhythmically speaking, the notation is correct; however, it is unclear due to the arrangement of the notes – the added semiquaver was placed not over the last quaver in the bottom voice, but right next to the crotchet. In the main text we suggest the same rhythmic values yet correctly arranged and beamed. Chopin used a similar notation in the Prelude in C minor, Op. 45, b. 7, 11 and analog.
Similar situations are to be found in b. 77 and 89. 

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE