mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Last key signature sign

b. 87

composition: Op. 2, Variations, complete

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In the main text we add a cautionary  to e2. In AsI Chopin wrote a  to e1 in the L.H. part.

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 150

composition: Op. 2, Variations, complete

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In the main text we omit the unjustified  (cautionary?) to a1 present in A (→GE1→FE,EE,GE2→FESB). The accidental was omitted in GE3 as well.

category imprint: Differences between sources; Editorial revisions

issues: Last key signature sign

b. 255

composition: Op. 2, Variations, complete

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Both in the last L.H. chord and in the R.H. arpeggio on the 4th beat of the bar, neither AsI nor Af nor A (→GE1→FE,EE) contain accidentals before g/g notes in various octaves. Actually, harmonically speaking, g would be possible; however, in this context, it is much more likely that we are dealing with overlooked naturals:

  • after changing the key signature, Chopin was uncertain which were valid – this is proven by numerous unnecessary flats before d, g, a and even e and b in bars 255-259 in AsI; in A there is still a flat before B at the end of bar 255 and before g2 in bar 256;
  • diminished seventh chords belonged to young Chopin's favourite ones.

The decisive argument for g is provided by the orchestral part – there is a g note in the 2nd violins, and the violins could not play g here.

The first edition to add naturals was GE2 (→FESB), 4 accidentals in total raising g1 to g1 in the L.H. and g2, g1 and g to g2, g1 and g in the R.H. The overlooked  to the 2nd demisemiquaver (g3) was added by GE3, in which, however, the accidental to the penultimate demisemiquaver, g, was overlooked.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Last key signature sign

b. 256

composition: Op. 2, Variations, complete

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In the manuscripts there are no accidentals in the second triplet (on the 3rd beat of the bar). In the main text we include both added flats – perhaps by Chopin in GE (→FE,EE) – although it is only the  restoring a1 that is indispensable. Incidentally, also in the previous triplet, an octave higher, the  to g2 present in all sources is also of a cautionary nature.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Authentic corrections of GE , Last key signature sign

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