mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 198

composition: Op. 2, Variations, complete

Tied quaver e1 in AsI, contextual interpretation

Crotchet e1 in A & GE2 (→GE3,FESB)

Quaver e1 in GE1 (→EE)

Quaver & demisemiquaver e1 in FE

Completed FE version suggested by the editors
..

As with b. 182, in the main text we give the version with e1 repeated at the end of the bar, introduced in the stage of proofreading FE. At the same time, we do not accept the fact that the e1 crotchet played in the middle of the bar should be shortened (to a quaver) – it is probably a mistake or revision by GE1 (→FE,EE), which was corrected by GE2 (→GE3,FESB). However, we add a dot extending the a1 semiquaver, since we are convinced that its absence in FE resulted from inaccurate or simplified proofreading.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE

b. 198

composition: Op. 2, Variations, complete

G in AsI

F in Af &A (→GE→FE,EE,FESB)

F in GE3
..

As in b. 182, in the main text, based on the undoubtedly later version of Af and A (→GE→FE,EE,FESB), we add a cautionary  to the 8th demisemiquaver, F. The accidental was also added by GE3.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Accompaniment changes

b. 205-206

composition: Op. 2, Variations, complete

f-b in AsI & A (→GE→EE,FESB)

f1-b1, a1 in FE
..

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

b. 207

composition: Op. 2, Variations, complete

Chords in AsI

Chords in A (→GE→EE,FESB)

Chord & octaves in FE
..

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 root on the third one.

category imprint: Differences between sources; Corrections & alterations

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

b. 260

composition: Op. 2, Variations, complete

No bass progression in AsI, Af & A (→GE→FESB,EE1→EE2)

D-d & C-c in FE & EE3
..

Chopin added the octave bass sequence in the 2nd half of the bar while proofreading FE1. This addition, undoubtedly drawn from FE, was also introduced into EE3. According to us, it is likely that the composer wanted this unquestionable improvement of the version for one piano to apply to the version of the piece with orchestra too (as a complement to the cellos and the double basses). A few years later, also exclusively in the version for one piano, Chopin introduced a change into the first tutti in mov. III of the Concerto in F minor, Op. 21. It is also there that we can assume that the changed text was supposed to concern the orchestral part also in the full version of the piece.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Authentic post-publication changes and variants