mUltimate Chopin

Op. 2, Variation IV, primitive version

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 11

composition: Op. 2, Variation IV, primitive version

3rd note b in AsI

3rd note g in A
..

In AsI the 3rd hemidemisemiquaver in each group is b. However, the manuscript bears traces of hesitation with respect to the pitch of these groups – in three of them, over the 4th note (c) one can see an added notehead of a g note, crossed out in the 1st and 3rd groups. Therefore, it seems that Chopin pondered replacing the final c note with g, yet he gave up on the idea. The A text, in which g replaced not the 4th, but the 3rd note in the passages (b) would mean that Chopin changed the 2nd pair of hemidemisemiquavers in these figures 3 times – he started from b-c, which he changed to b-g, then he returned to initial b-c, to eventually change them to g-c.

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

issues: Chopin's hesitations , Accompaniment changes , Corrections of AI

b. 12

composition: Op. 2, Variation IV, primitive version

Divergent arpeggio in AsI

Divergent arpeggio in AsI

Convergent arpeggio in A

Convergent arpeggio in A
..

In AsI Chopin continues the principal scheme of contrary motion passages one quaver longer. In A version, Chopin made the arrangement of the figures in this bar look like in bar 8.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 12

composition: Op. 2, Variation IV, primitive version

Arpeggios from G to g & from d3 to b1 in AsI, basic version

Arpeggios from G to g & from d3 to b1 in AsI, basic version

Arpeggios from F to d1 & from d3 to f1 in A

Arpeggios from F to d1 & from d3 to f1 in A
..

The principal AsI version (normal-sized notes, on main staves) clearly deviates in terms of interval structure and hand position from the otherwise prevailing figuration scheme. This could have been the reason for the addition of an alternative version, which became the mandatory model already in the stage of writing A. See also bar 13.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 13

composition: Op. 2, Variation IV, primitive version

Arpeggios from a & c2 in AsI

Arpeggios from a & c2 in AsI

Arpeggios from f1 & a1 in A

Arpeggios from f1 & a1 in A
..

In AsI the version of the 1st figure in the bar is adjusted to the principal version of the ending of the previous bar. Although Chopin added the later, final version of the last figure in the ending of bar 12 already to AsI, he did not change anything in this case. Therefore, it allows us to link both versions of the ending of bar 12 to the AsI version of the discussed beginning of bar 13. According to us, the incompatible arrangement of the broken chords (particularly in the L.H.) rather excludes the possibility of combining the initial version of bar 12 with the new version of bar 13.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Bass register changes

b. 15

composition: Op. 2, Variation IV, primitive version

3rd note b in AsI

3rd note g in A
..

As in bar 11, in AsI the 3rd note of each hemidemisemiquaver group is b, which is an earlier version of this place.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes