mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Main-line changes

b. 1-8

composition: Op. 2, Variations, complete

AsI, contextual interpretation

Remaining sources
..

In AsI, the piece begins with an orchestral eight-bar period based on a melodic and harmonic idea different from the published version. Only bars 1 and 8 show any similarity to the final version, the rest form a kind of skeleton of what the soloist then performs in bars 10-15 (this is especially clear in bars 3-6 in comparison with bars 11-14). We consider this original redaction to be the text of AsI and we present it as a unified variant of the entire bars 1-8. In addition, AsI also contains – on the page preceding the regular opening – a record of the later version, although only in the form of a string quintet score. It differs from the sources constituting the basis of the published version (A, GE1 and FE) only in the rhythm of the end of bar 8, which we describe in a separate note and include as a variant of the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 9

composition: Op. 2, Variations, complete

Quaver b1, no grace notes in AsI

Crotchet b1, grace notes in remaining sources
..

The version with the quaver b1 and without the grace notes ending the trill is written twice in AsI, in the main sequence of the score and in the first measure of the solo part, written next to the new version of the orchestral introduction. Chopin later marked the grace notes in the main sequence, but there is no indication that at this stage he also planned to extend the trill to the value of a crotchet.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 15

composition: Op. 2, Variations, complete

One group of notes in AsI

Triplets & quintuplet in A (→GE→FE,EE,FESB)
..

The division of the figuration is an evident improvement of notation, since it corresponds to the rhythmically well-determined melodic and harmonic structure of the figuration. According to us, the change of slurring introduced in the last stage of shaping the note image of this bar explains why Chopin initially wrote down this bar as one group – he did not want to indicate rhythmic divisions, since the divisions of motifs fall on other places.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 15

composition: Op. 2, Variations, complete

d2 in AsI

d2 in A (→GE→FE,EE,FESB)
..

Taking into account the three previous similar phrases in this bar and d2 in AsI, one could assume an oversight of a  in A. However, it seems more likely that Chopin consciously changed the pitch of this note:

  • Chopin would often omit accidentals to notes belonging to the current key; however, he would rarely overlook an accidental supposed to define the alteration (only a few times in his entire oeuvre);
  • Chopin did not correct the possible mistake while proofreading FE, despite the fact that he changed slurs in this very bar.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 61

composition: Op. 2, Variations, complete

8 semiquavers in AsI

9 semiquavers in A (→GE→FE,EE,FESB)
..

category imprint: Differences between sources; Corrections & alterations

issues: Errors of A , Main-line changes