Issues : Authentic corrections of GE
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b. 4
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composition: Op. 2, Variations, complete
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We consider the version of A (→GE1) to be erroneous, which is indicated by the orchestral part – an F in cellos and double basses is both in the later version of AsI and in the voices of GE and FE. The correct version of FE almost certainly resulted from Chopin's correction, probably introduced still into the copy of GE1 serving as the basis for that edition – there are no visible traces of changes in print. The corrections present in GE2 (→GE3,FESB) and EE2 (→EE3) can be considered revisions on the basis of orchestral parts. In the case of GE2, Chopin's intervention is also likely; his participation in the preparation of that edition is generally questionable, yet it cannot be excluded to a limited extent. category imprint: Differences between sources issues: EE revisions , Terzverschreibung error , GE revisions , Errors of A , Authentic corrections of FE , Authentic corrections of GE |
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b. 9
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composition: Op. 2, Variations, complete
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The starting point of the slur in A cannot be explained either musically or pianistically, hence we can assume an inaccuracy of notation here. The reason for an earlier start of the slur in GE (→FE,EE) is probably a routine approach of the engraver of GE1, although one cannot completely rule out Chopin's possible correction. Anyways, the composer did not question such a slur while proofreading FE1, for example, in the previous bar. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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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. 14
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composition: Op. 2, Variations, complete
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It is difficult to evaluate the authenticity of the version of GE (→FE1,EE), featuring only one R.H. slur in this bar. The longer slur of A, not included in the editions, does not seem to be a part of an irregular group marking, since it goes beyond it, to the c3-c4 octave. Therefore, it should be assumed that it concerns phrasing/articulation; when omitted, it impacts the articulation of the last five demisemiquavers, particularly if we take into account the change of dots to wedges, also performed in GE. On the other hand, upon seeing GE, Chopin could have considered one slur to be enough and the markings as a whole to be acceptable. In this situation, we regard both sets of markings (dots under a slur or wedges) as more or less equal, keeping in the main text the version of the principal source, i.e. A. category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE |
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b. 26
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composition: Op. 2, Variations, complete
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In GE1 this note was being corrected during the printing process, which is evidenced by the visible – particularly in GE2 – traces of removal of the notehead of g3. Nevertheless, it is uncertain whether the correction was ordered by Chopin – it could have been performed by the reviser – he could have considered the notation of A a mistake. It is also likely that the initially printed g3 was devoid of a ledger line (such mistakes were quite frequent), and the reviser, without consulting the basis, considered the notehead to have been placed too high. Therefore, the authenticity of the version featuring f3 is uncertain; moreover, the fact that g3 was reintroduced into FE1 – undoubtedly by Chopin – proves that the composer eventually opted for g3, even if he were temporarily considering f3. category imprint: Differences between sources issues: Chopin's hesitations , GE revisions , Authentic corrections of FE , Authentic corrections of GE |
