Issues : EE revisions
b. 251
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composition: Op. 2, Variations, complete
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The version of EE, FESB and GE3 is most probably an arbitrary change performed by the revisers (engravers?), certain that the basis (in this case either GE1 or GE2) contained a mistake. category imprint: Differences between sources issues: EE revisions , GE revisions , Revisions in FESB |
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b. 253
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composition: Op. 2, Variations, complete
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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 |
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b. 256
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composition: Op. 2, Variations, complete
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In the entire passage Chopin did not insert any accidentals except the naturals to the 1st and 3rd notes (e and a). The necessity to raise subsequent a to a is beyond dispute; however, the use of e1, e2 and e3 would be harmonically and pianistically possible. Nevertheless, the majority of the arguments support the use of e1, e2 and e3:
As far as the missing naturals to a1 and a2 are concerned, in GE1 (→FE1,GE2→FESB) it was only the one to a2 that was added, which was supplemented by EE and GE3. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of GE , Inaccuracies in A |
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b. 257
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composition: Op. 2, Variations, complete
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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 |
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b. 259
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composition: Op. 2, Variations, complete
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The version of notation of FE and EE, in which the semiquaver of the top voice was placed after the 3rd quaver of the triplet in the remaining voices, is contrary to the Chopinesque understanding of this combination of rhythms – see bars 45-46. Interestingly, the engraver of FE consistently forced his version of notation (contrary to the basis), whereas the engraver of EE decided to depart from the basis only here. category imprint: Differences between sources issues: EE revisions , FE revisions |