Issues : Main-line changes
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b. 193
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composition: Op. 2, Variations, complete
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AsI presents an earlier version of the ornament on the 2nd quaver of the bar. It is also possible that all the grace notes were added later, so that the original version did not contain any ornamentation. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 195
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composition: Op. 2, Variations, complete
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There are two versions in AsI – the earlier one, written in normal-sized notes, which we consider to be the text of this source, and the later one, marked with additional small notes. This second version, almost identical to the one added in AsI in bar 179, can be considered a first attempt at the final version appearing in other sources. The notation of the second version is not univocal:
category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes , Corrections of AI |
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b. 200-202
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composition: Op. 2, Variations, complete
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The semiquavers appearing in bars 200 and 202 in AsI are the original version, since dotted rhythms appear both in A and editions, as well as in printed orchestral parts. However, in the orchestra part of AsI, the situation is not so clear. Its notation in bars 200-202 is short – only the part of the first violins and cellos with double basses and "as above" repeated several times, which probably refers to the previous Tutti. In bar 200, the violin part has a dotted rhythm (written incorrectly, perhaps added in a hurry), and the bass part has a semiquaver rhythm. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Main-line changes |
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b. 205-206
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composition: Op. 2, Variations, complete
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We provide the version that Chopin enhanced while proofreading FE. Moving the horn motif an octave higher could have been aimed at avoiding a false relation: f in bar 205 with f category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Main-line changes |
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b. 207
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composition: Op. 2, Variations, complete
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In the stage of proofreading FE, the ending of this tutti underwent a similar change as in the previous variation. Eventually, in the version for one piano, all four endings – of the Theme and the first three variations – were given a similar form, with a chord in a higher register (in open position) on the 2nd quaver and a doubled or tripled b category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Bass register changes , Main-line changes |
1 following the more precise notation in bar 179.
1 at the beginning of bar 206. Moreover, the composer could have also wanted to avoid the clash – quite monotonous on the piano – with an identical motif ending the bassoon phrase.
