mUltimate Chopin

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Issues : Corrections of AI

b. 16

composition: Op. 2, Variation IV, primitive version

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In AsI one can see that initially the first 2 notes of the L.H. passage on the 2nd quaver were G-g. It could have been a quickly abandoned initial concept (there is no similar change in the next passage) or a result of the composer's momentary distraction.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections of AI

b. 17-23

composition: Op. 2, Variation IV, primitive version

Arpeggios from f1 in AsI, basic version

Arpeggios from f1 in AsI, basic version

Arpeggios from b1, c2, d2 & b1 in AsI, later version, contextual interpretation

Arpeggios from b1, c2, d2 & b1 in AsI, later version, contextual interpretation

Arpeggios from b1, c2, d2 & b1 in A

Arpeggios from b1, c2, d2 & b1 in A
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As in bars 1 and 5, in AsI Chopin generally wrote 2 versions of this bar. The earlier one, which we consider the text of this source, is written in normal-sized font, whereas the later one was added in small notes. It is noteworthy that, unlike at the beginning of the variation, in this case the second version encompasses the entire bar, and in the R.H. part it is the same as the final A version. On the other hand, in the L.H. part, in the added 2nd hemidemisemiquaver group, the 2nd note is c1, and not a, which we see in A. A more detailed analysis of notation in this place reveals that the finally adopted a was most probably also added to AsI, next to c1, which is more distinct.

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

issues: Accompaniment changes , Corrections of AI

b. 17-21

composition: Op. 2, Variation IV, primitive version

B in AsI

d in A
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As was the case with bars 1 and 5, the AsI version of the last note of the 4th hemidemisemiquaver group in bars 17 and 21 (written down as a repetition of the preceding one) is a transitional stage between the initial version featuring B1 as the last bass note in these bars and the final version present in A.

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

issues: Accompaniment changes , Corrections of AI

b. 18

composition: WN 37, Lento con gran espressione

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In A1 one can see that the two quavers on the 4th beat of the bar replaced the initial f1 crotchet.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections of AI

b. 19

composition: Op. 24 No. 3, Mazurka in A♭ major

The chord in AI

The chord in A (→GE→FE→EE)
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In A (→GE→FE→EE) Chopin wrote b, in this context more natural than c1 appearing in AI.

 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Enharmonic corrections , Corrections of AI