mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Errors of A

b. 257

composition: Op. 2, Variations, complete

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The first and last notes of the group of 4 small notes ending the trill are written in A (→GE1→EE,GE2→GE3,FESB) without accidentals. The use of G at the beginning of this group, natural in this context, is confirmed by the  of AsI and by the  added – along with a cautionary  to g – in the stage of proofreading FE1.

category imprint: Interpretations within context; Differences between sources

issues: Cautionary accidentals , Errors of A , Authentic corrections of FE , 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
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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

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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. 263

composition: Op. 2, Variations, complete

8 ¯ ¯ ¯ in AsI, Af & GE (→FE,EE)

No 8 ¯ ¯ ¯ in A
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Chopin's patent mistake in A is indicated by the presence of an octave sign both in the earlier manuscripts, AsI and Af, and in all editions. It is difficult to say whether the addition of this indication to GE1 came from Chopin, since in this context it could have seemed obvious.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A , Authentic corrections of GE

b. 265

composition: Op. 2, Variations, complete

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In AsI, Af and A (→GE1→EE1→EE2) there is no  lowering c2 to c2. Chopin's patent oversight was corrected by FE1, GE2 (→GE3,FESB) and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of FE , FE revisions