Issues : Accompaniment 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. 11

composition: Op. 2, Variations, complete

Arpeggio signs in AsI

Grace note in AsI, alternative version

 

No ornaments in A (→GEFE,EE)

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 14

composition: Op. 2, Variations, complete

c4 in AsI

Octave in A (→GEFE,EE,FESB)

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 15

composition: Op. 2, Variations, complete

Semiquavers & arpeggios in AsI

Groups of grace notes in A (→GEFE,EE,FESB)

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 40

composition: Op. 2, Variations, complete

d3-b2-g2-c2-b1 in AsI

b2-b2-g2-e2-c2 in A (→GEFE,EE,FESB)

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations , Accompaniment changes , Main-line changes