Rhythm
|
b. 182
|
composition: Op. 2, Variations, complete
..
The second record of this bar in AsI (b. 182') most probably contains two versions. We consider the first one, written in normal, clear script, to be the principal one. The only difference between this version and the final one is the presence of semiquavers instead of dotted rhythm on the 2nd quaver in the bar. Chopin then complemented this record with a draft of a version in which the rhythm was significantly enriched; we present a possible interpretation thereof as an alternative version. As we can see, Chopin did not use this idea while preparing the Variations for print; however, we can find similar figures in b. 180, 192 and 196 of the final version. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Dotted or even rhythm |
|||||||||
|
b. 189
|
composition: Op. 2, Variations, complete
..
Chopin diversified the L.H. figuration in terms of rhythm and articulation in A (→GE→FE,EE,FESB). The idea must have been conceived before the place was written down in A, since there are no traces of corrections. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Dotted or even rhythm |
|||||||||
|
b. 191
|
composition: Op. 2, Variations, complete
..
We give the text written down in normal-sized lines, most probably initial, as the version of AsI. The slur over these three chords most probably also concerns this version – see the next note. Chopin then sketched a version in which the top voice is separated and provided with a changed rhythm; generally, it is compliant with the final version: category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes |
|||||||||
|
b. 200-202
|
composition: Op. 2, Variations, complete
..
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 |
|||||||||
|
b. 208-227
|
composition: Op. 2, Variations, complete
..
In the main text we reproduce the non-standard beaming of A. It was the engraver of GE1 that applied the typical, four-semiquaver beams to make his work easier – half as many elements to be engraved – which was then adopted by the other editions. This applies to the entire Variation IV. category imprint: Differences between sources issues: GE revisions |
.
