mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Accompaniment changes

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

b. 274

composition: Op. 2, Variations, complete

2 R.H. f notes in AsI

5 R.H. f notes in A (→GE)

3 R.H. f notes in FE & FESB

4 R.H. f notes in EE

Our variant suggestion
..

A version of FE in which R.H. quavers on the 2nd beat do not include the f notes is most likely the result of Chopin's correction of its Stichvorlage, i.e. a copy of GE1. This version, which does not suggest striking these notes with both hands simultaneously, is given in the main text. A similar adjustment was made in EE, but there is no suggestion that Chopin had any influence on the text of this edition.
Noteworthy is the version of AsI, in which Chopin omitted the first f quaver on the 2nd beat (similarly to FE), and also deleted the f semiquavers on the 1st beat. The removal of these notes, which is a kind of development of the original idea to which Chopin eventually returned, is included in the main text in variant form.

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

issues: EE revisions , Accompaniment changes , Authentic corrections of FE , Revisions in FESB

b. 337-338

composition: Op. 2, Variations, complete

AsI

A

GE (→EE,FESB)

FE
..

In FE the R.H. version, which is significantly altered with respect to the remaining sources, must have been introduced by Chopin (the absence of visible traces of changes performed in print suggests that Chopin entered it already into the basis, that is a copy of GE1). As it is the last authentic version, we give it in the main text. We only add a  hairpin in bar 338 – the mark is present in A, yet it was overlooked in GE, hence its absence in FE was not probably intended (in bar 337 Chopin included an analogous mark while proofreading FE1).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 338

composition: Op. 2, Variations, complete

b in last quaver in A (→GE→EE,FESB)

No b in FE
..

Chopin removed b while proofreading FE1 (→FE2). The removal of this note prepares a strictly four-part texture of the next two bars and ensures that the chromatic connection between the G6< major and B major chords is as legible as possible.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE