mUltimate Chopin

Op. 2, Variations, complete

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Fingering

b. 43

composition: Op. 2, Variations, complete

No fingering in A (→GE1→EE,FE1→FE2)

Fingering in GE2 (→GE3,FESB)
..

The fingering added in GE2 (→GE3,FESB), as natural as possible here, could have come from Chopin; however, due to the reasons discussed in the characterisation of GE2, we do not provide it in the main text.

category imprint: Differences between sources

issues: GE revisions

b. 55-57

composition: Op. 2, Variations, complete

No fingering in AsI & A (→GE1→EE,FE)

Fingering in GE2 (→GE3,FESB)
..

In the main text we do not include the fingering added by GE2 (→GE3,FESB) due to its questionable authenticity. It is particularly the use of the 5th and 4th fingers in the 2nd figure in b. 56 and the 1st figure in b. 57 that is dubious – Chopin would repeat the 5th finger in similar contexts, e.g. in the Polonaise in E, Op. 22, b. 22. See also b. 57 and 58.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 57

composition: Op. 2, Variations, complete

No fingering in AsI & A (→GE1→FE1,FESB)

Fingering in GE2 (→GE3,FESB)
..

The fingering added by GE2 (→GE3,FESB), although very natural in this bar, probably does not come from Chopin. It is indicated by the fingering entered into b. 55-56 and 58, probably by the same person yet less artful; more importantly, it is contrary to the Chopinesque fingering present in similar places in his other works.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 58

composition: Op. 2, Variations, complete

No fingering in AsI & A (→GE1→FE1,EE)

Fingering in GE2 (→GE3,FESB)

Fingering in GE2 (→GE3,FESB)
..

The authenticity of the fingering added in this bar seems very problematic. Both the choice of the notes provided with digits and the fingering are questionable:

  • it is unclear why the indications appear only just here and why (despite the fact that the first group of digits does not define any pattern that could be continued) the fingering was abandoned and then resumed in a place that stands out only due to the fact that the second out of the notes provided with a digit is written with an error (no );
  • b. 17 and 73-74 of the Etude in C minor, Op. 10 No. 12 contain a L.H. figuration symmetrical to the discussed part of the roulade. The Chopinesque fingering that can be found there could be therefore used in b. 58 of the Variations: 
    As one can see, it is fundamentally different from the one provided in GE2.

Taking into account the above reservations and the incompliance of the fingering of GE2 with the Chopinesque one also in other situations (cf. b. 55-56), in the main text we do not include this fingering.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE

b. 105

composition: Op. 2, Variations, complete

No fingering in A (→GE1→FE,EE)

3-2-1 fingering in GE2 (→FESB)

3-1-2 fingering in GE3
..

The fingering added in GE2 (→FESB), whose authenticity is, after all, questionable, must be erroneous in this case. However, it is uncertain whether the mistake consisted in printing a wrong digit (2 instead of 4) or in switching the order of digits (2-1 instead of 1-2). GE3 applied the latter.

category imprint: Differences between sources

issues: Errors in GE , GE revisions