mUltimate Chopin

Op. 2, Variations, complete

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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

b. 260

composition: Op. 2, Variations, complete

..

In  there is no  raising g to g. This patent oversight may be considered a confirmation of Chopin's confusion as to the validity of the key signature accidentals – cf. bar 255, in which a similar mistake in the same chord remained unnoticed in A as well.

category imprint: Interpretations within context; Differences between sources

issues: Last key signature sign

b. 261-262

composition: Op. 2, Variations, complete

No orchestral inserts in AsI & GE (→EE1→EE2, →FESB)

Progression of thirds in Af, contextual interpretation

Progression of thirds in A, contextual interpretation

Progression of sixths in FE & EE3

Complemented FE version suggested by the editors

Modified FE version, our alternative suggestion
..

All three source versions of the text written in smaller notes are rather a harmonic complement to the solo part when "performed without accompaniment" than an actual replica of the string voices. At the same time, the earlier versions of Af and A are closer to the orchestral part than the later one, placed in a higher register. All versions of notation also contain mistakes or rhythmic simplifications; we reproduce the clearly erroneous ones only in the content transcription (version "transcript").
To the main text we adopt the supplemented version of FE (repeated also in EE3), which is evidence of Chopin's latest interaction with the solo part urtext.
Alternatively, assuming the erroneous rhythmic value of the d1-b1 sixth, we suggest a modified version of FE1. The versions of Af and A are almost identical in terms of sound; the former allows us to locate the mistake in the vague rhythmic version of A in bar 261 – the a-c1 quaver is supposed to be a semiquaver. The missing orchestral inserts in AsI are due to its working, unfinished nature, while in GE – probably due to the vague notation of A.

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

issues: GE revisions , Rhythmic errors , Errors of A , Authentic corrections of FE

b. 261

composition: Op. 2, Variations, complete

..

In an earlier version of the insert illustrating the orchestral part – see the note below – neither Af nor A contain a  raising a to a. A respective accidental is in the 2nd violins in AsI and the orchestral parts. The mistake was corrected only intermediately – in a later version of this insert, added in the stage of proofreading FE1, there is an a1 provided with a .

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Errors of A

b. 262

composition: Op. 2, Variations, complete

Chord in AsI, FE & EE3

Supplemented FE version suggested by the editors

Chords & 'Violini' in Af

Chords &  in A

Solo part only in GE (→EE1→EE2, →FESB)
..

The versions of Af and A, identical in terms of the way they sound, differ only in additions – an indication specifying the instrumental group in Af and a  in A. As was the case with the previous such insert between bars 261-262, this replica was left out by GE (→FESB,EE1→EE2). In this case, however, it is difficult to indicate the probable cause of why this edition diverts from the basis. The fact that this insert was restored to FE in the initial version proves that Chopin hesitated whether to recall a chord being the basis of the first three beats of the bar at the expense of blurring the shape of the solo part.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Errors in GE , Accompaniment changes , Authentic corrections of FE