Issues : Corrections of AI

b. 1-5

composition: Op. 2, Variation IV, primitive version

B in AsI

d in A

..

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 B1. Moreover, this semiquaver was changed in the stage of writing AsI, which is proven by the visible corrections to this note in bars 1 and 21. Back then Chopin settled for the correction of the bass line only, since in the stage of writing AsI he would use other intervals than an octave between the last hemidemisemiquaver and the following semiquaver much more frequently than in the final version.

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

issues: Accompaniment changes , Corrections of AI

b. 3-24

composition: Op. 64 No 2, Waltz in C♯ minor

Quaver in As

Rest & semiquaver in AI & A (→FEGE,EE)

..

On the 2nd beat in bars 3-4, 7-8, 19-20 and 23-24 As has two quavers in the R.H. In bars 3-4 and 7-8 the rhythm was probably written initially in AI too, Chopin, however, added there rests and semiquaver ties of the final version (it is proved by spaces between the notes).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 4-20

composition: Op. 64 No 2, Waltz in C♯ minor

e1 & c1 in As, 1. version

f1 & c1 in AI

f1 & d1 in As, 2. version
or
f1 & d1 in A (→FEGE,EE)

..

As includes two written versions of bar 4 – in the main course of the text it features the version with e1 as the bottom note of all dyads in the R.H. and the g-cfourth as the 2nd crotchet in the L.H. and above one can see the version with fand the g-dfifth. Bar 20 is not written out in As, hence it is meant to be the same as bar 4. We adopt the first, undoubtedly earlier, version to be the text of As, since the second became the final one (not including the rhythm). It cannot be excluded that the second version was added not in the first phase of writing the Waltz, yet later, even after having written AI, in which the part of the L.H. still conserved its original shape (the g-cfourth), whereas in the part of the R.H. in bar 4 one can see a correction from the original version.  

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 7-23

composition: Op. 64 No 2, Waltz in C♯ minor

Sixth B-g in As

Third e-g in AI & A (→FEGE,EE)

..

The deletion visible in As suggests that the B-g sixth may be a remaining element of the original version, in which a sixth was present also on the 2nd crotchet. The same applies to bar 23, which is not written out in As. The version with sixth appears also in AI in bar 23 (deleted).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 7

composition: Op. 2, Variation IV, primitive version

e1-c1 in AsI

c1-a in A

..

In the 1st half of the bar, the L.H. part bears traces of corrections in AsI. While working on this manuscript, the initial version:  was ultimately replaced by the one we give in our transcription. Chopin then once more changed the 2nd and 3rd hemidemisemiquavers in the 1st figure of the bar; in A he returned to the initial version. 

category imprint: Differences between sources; Corrections & alterations

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