Issues : Accompaniment changes
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b. 1-5
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composition: Op. 2, Variation IV, primitive version
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In bars 1 and 5, in the principal AsI version, the R.H. hemidemisemiquaver figures do not advance in parallel to the semiquavers constituting the melody. In the 1st half of bar 1, Chopin already added an alternative version, close to the later A version. According to us, this version is to be considered a draft of a new idea, containing the default instruction 'and so on and so forth'. This is indicated by analogous bar 17, in which the A version is marked in the form of a similar addition throughout the entire bar. We provide the AsI addition interpreted as such as a variant of the later version in both bars (1 and 5). See also bars 2-6 and 7. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 1-5
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composition: Op. 2, Variation IV, primitive version
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In AsI the 4th hemidemisemiquaver figure in bars 1 and 5 is the same as the third one, although the semiquaver ending the passage is different – D instead of B category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Accompaniment changes , Corrections of AI |
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b. 2-6
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composition: Op. 2, Variation IV, primitive version
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As in bars 1 and 5, in AsI the R.H. hemidemisemiquaver passages are not moved in parallel with the melody semiquavers. This is the initial version, subsequently simplified by reducing the number of large leaps. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 3
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composition: Op. 2, Variation IV, primitive version
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The version of the 2nd half of the bar added in AsI seems to be the first version of the final text, hence we regard it as a variant of the latter. However, as upon the return of this bar (bar 19) AsI has only one version, identical to the final one, all three versions can be actually treated interchangeably. The AsI notation is inaccurate in terms of accidentals – in the principal version the category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Accidentals in different octaves , Cautionary accidentals , Accompaniment changes |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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This bar belongs to one of the few places in which Chopin, while working on this variation, changed the shape of the melody formed by the R.H. topmost notes (see also bars 11 and 24). The interpretation of the AsI notation presents some difficulties, since it is uncertain whether the 3 grace notes, which could have been added later, were supposed to complement the figuration or whether they were an original way to mark the change of concept of the topmost notes to the final version. The latter is supported by analogous bar 20, in which AsI includes the final version entered without hesitation. In either case, the notation of these grace notes is puzzling, since each is provided with a different form: a semiquaver, a slashed quaver, a quaver, respectively. Perhaps Chopin wanted to try out different forms of notation to see which one would suit him best. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Terzverschreibung error , Errors in the number of ledger lines , Accompaniment changes , Main-line changes |
1, c2, d2 & b
raising e
