Ornaments
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b. 11
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composition: Op. 2, Variations, complete
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According to the notation of AsI, the intended shape of the melody of this fragment always included the bottom second (b1), both in the introduction and the ending. Therefore, the fact that A (→GE1→EE) does not include a written-out ending of the trill does not mean that Chopin intended a performance without an ending; it is simply an inaccurate notation. The changes introduced into GE2 and FE resulted from Chopin's intervention, whereas GE2 misinterpreted Chopin's indication, as a result of which the grace notes were encompassed with an octave sign and not added after the trill (as they should be). category imprint: Differences between sources issues: Errors in GE , GE revisions , Authentic corrections of FE , Authentic corrections of GE |
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b. 11
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composition: Op. 2, Variations, complete
category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 13
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composition: Op. 2, Variations, complete
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In this context – the beginning of a phrase – both notations of the beginning of a trill mean the same thing. When preparing the Variations for printing, Chopin chose a simpler notation. category imprint: Differences between sources; Corrections & alterations |
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b. 80-84
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composition: Op. 2, Variations, complete
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In the sources there are no naturals specifying the sound of the top note of the mordents. However, the phrase is clearly kept in the key of F major, which is indicated by the arrangement of the individual chords within the four-bar section. The fact that it is also here that Chopin heard the key of F major and not of B category imprint: Editorial revisions |
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b. 127
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composition: Op. 2, Variations, complete
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The ending of the trill is not written out either in AsI or in the sources of the piano part; however, it is present in the violin voice of GEorch (→FEorch). It seems likely that it is merely a notation difference, hence in the main text we suggest this ending in a variant form. Same in analogous b. 167, 199 and 239. See also b. 131. category imprint: Editorial revisions |
major is proven by the e2 notes present in the figuration in b. 112-113 (116-117), particularly in the melody by the end of b. 188. Omission of accidentals specifying the sound of secondary mordent, trill or grupetto notes was rather a rule than an exception in the Chopinesque notation. 
