mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Main-line changes

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b. 192

composition: Op. 2, Variations, complete

Quavers in AsI

Semiquavers & demisemiquavers in A (→GE→FE,EE)
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In the second half of the bar, AsI has the original, simplest variant of this motif, the same as in bar 176 of the final version.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 193

composition: Op. 2, Variations, complete

Turn & grace note in AsI

Trill with ending in remaining sources
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AsI presents an earlier version of the ornament on the 2nd quaver of the bar. It is also possible that all the grace notes were added later, so that the original version did not contain any ornamentation.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 195

composition: Op. 2, Variations, complete

Earlier version in AsI

Added version in AsI

Remaining sources
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There are two versions in AsI – the earlier one, written in normal-sized notes, which we consider to be the text of this source, and the later one, marked with additional small notes. This second version, almost identical to the one added in AsI in bar 179, can be considered a first attempt at the final version appearing in other sources. The notation of the second version is not univocal:

  • The presence of the note c2 in the 2nd semiquaver of the lower voice is not clearly indicated. We assume that the intended voice leading on the 2nd quaver of the bar corresponds to the final version.
  • We add the tie sustaining the grace note b1 following the more precise notation in bar 179.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes , Corrections of AI

b. 200-202

composition: Op. 2, Variations, complete

Semiquavers after AsI

Dotted rhythms in A (→GE→FE,EE)
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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. 205-206

composition: Op. 2, Variations, complete

f-b in AsI & A (→GE→EE,FESB)

f1-b1, a1 in FE
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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 f1 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.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Main-line changes