mUltimate Chopin

Op. 2, Variations, complete

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 5

composition: Op. 2, Variations, complete

  in A, contextual interpretation

  after A

  in GE (→FE,FESB)

  in EE
..

In A, the pair of dynamic hairpins was written as close as possible to the top voice so that it was clear that it concerned this very voice; the slightly shortened  mark is a result of lack of space. For reasons of clarity, in the main text we move the marks over the stave. In GE (→FE,FESB) the  mark was prolonged, which could be considered acceptable; however, as a consequence, the mark seems to concern the R.H. bottom voice too, which is exactly what Chopin wanted to avoid in A. In the version of EE, the original notation is distorted even more (due to lack of access to A).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A

b. 5-6

composition: Op. 2, Variations, complete

 in A, contextual interpretation

in GE (→FE)

in EE

in FESB
..

In A, the short  mark is placed in b. 6; however, since it reaches only the 1st crotchet in that bar, it is obvious that it concerns the f1-g1 step between the bars, which we give in the main text. The versions of editions are based on the interpretation of that mark performed by GE1, in which its right-hand ending is led to the 2nd beat of the bar, which has no basis in the notation of A. In spite of minor differences in the range of the marks in the editions, we regard them as different, since each may suggest a slightly different beginning or ending of the crescendo, while the mark in FESB actually resembles a reversed accent.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A

b. 11

composition: Op. 2, Variations, complete

..

In the main text we add a cautionary  to f. In EE the accidental was added later, to the R.H. f1. In the penultimate L.H. octave, there is only one  in A, to the top note. The patent inaccuracy was corrected in GE (→FE,EE).

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Inaccuracies in A

b. 14

composition: Op. 2, Variations, complete

..

In A, there are no naturals to the b2 and b3 demisemiquavers. The latter was already corrected in GE (→FE,EE). In the case of b2, the missing  does not have to be considered a mistake, since the rules of validity of accidentals are not strictly determined in this context – b2 sounds higher than the b1 note at the beginning of the bar (an accidental is required) but it is written down at the same pitch (an accidental is not required). Interestingly, both naturals are in AsI.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 27

composition: Op. 2, Variations, complete

..

In A there are no accidentals to the last small semiquaver in each of the group of grace notes. This patent inaccuracy was already corrected in GE1 and in all subsequent editions.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A