mUltimate Chopin

Op. 2, Variation IV, primitive version

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 20

composition: Op. 2, Variation IV, primitive version

e1-c1 & a1-c2 in AsI

d1-b & b1-d2 in A
..

The sound of the 3rd group in AsI is a puzzle in this bar. In the L.H. part, a repetition of the preceding figure is marked, hence a broken dominant chord in the key of B major (the 4th figure is also marked as a repetition, which confirms such an interpretation). In the R.H. part the middle hemidemisemiquavers bear traces of corrections – it seems that Chopin changed the initial b1 and d2 notes to a1 and c2. Consequently, all 4 figures in this bar are identical in both hands, which is contrary to the characteristic harmonic sequence with a tonic chord on the 3rd quaver in the bar, present in the orchestral part (both in AsI and in the printed orchestral parts), the A text in this place and the text of all sources in analogous bar 4. According to us, we are most probably dealing with Chopin's mistake (cf. the first note in this bar).

category imprint: Differences between sources

issues: Corrections of AI

b. 22

composition: Op. 2, Variation IV, primitive version

..

AsI contains an unjustified  to e1 in the 3rd L.H. passage; on the other hand, in the same passage, the  restoring b3 at the end of the bar is missing.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Cautionary accidentals

b. 23

composition: Op. 2, Variation IV, primitive version

Arpeggios from a1 in AsI

Arpeggios from a1 in AsI

Arpeggios from c2 in A

Arpeggios from c2 in A
..

As in bar 7, in A Chopin changed the position of the R.H. hemidemisemiquaver figures, thus bringing them closer to the melody semiquavers.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 24

composition: Op. 2, Variation IV, primitive version

Divergent arpeggios in AsI, basic version

Divergent arpeggios in AsI, basic version

Convergent arpeggio in AsI, alternative version, contextual interpretation

Convergent arpeggio in AsI, alternative version, contextual interpretation

Convergent arpeggio in A

Convergent arpeggio in A
..

In the principal AsI version, the last bar of this variation does not differ from the previous ones in terms of texture. However, on the adjacent staves, an idea for a new ending was drafted. What is more, Chopin introduced there a correction to the first L.H. triplet: B1-D-F (as in A) was changed to B1-F-B, resulting in – assuming that the passage should be performed with pedal, which is quite obvious – a more harmonised sound of the whole. It is difficult to say why Chopin did not include this correction in A; nevertheless, we consider both versions to be equal.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 24

composition: Op. 2, Variation IV, primitive version

..

In AsI, in the 1. volta of this bar, the last 2 hemidemisemiquavers in the 4th R.H. passage are written as c2-a1. This is Chopin's mistake that remained uncorrected – cf. bar 8 (2. volta), in which the same mistake was corrected. Probably while drafting this place, Chopin initially planned to use an F major chord before writing a new version, based on a B major chord, only in the L.H. part, which required more serious alterations, that is change of the bass note and the passage position.

category imprint: Interpretations within context; Differences between sources