Issues : Bass register changes
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b. 112-116
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composition: Op. 2, Variations, complete
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The octaves in AsI in b. 112 and at the beginning of b. 116 are probably the initial version, possibly a temporary variant, eventually abandoned by Chopin (the latter could be indicated by the notation with the carelessly written down 8s, probably added later, since the other octaves are written down without abbreviations). category imprint: Corrections & alterations issues: Chopin's hesitations , Bass register changes , Abbreviated octaves' notation |
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b. 128-131
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composition: Op. 2, Variations, complete
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In A the L.H. octaves are written in an abridged manner with the use of the con 8va indication. The editions explained the abbreviation. The absence of the indication in AsI may be an earlier version or a simplified notation of the obvious. category imprint: Differences between sources issues: GE revisions , Bass register changes , Abbreviated octaves' notation |
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b. 168-170
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composition: Op. 2, Variations, complete
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As in b. 128-131, the fact that the bass line was not doubled an octave lower in AsI may be just a simplified version of notation. In A the doubled line was marked with con 8va, which was elaborated in the editions. category imprint: Differences between sources; Corrections & alterations issues: Bass register changes , Abbreviated octaves' notation |
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b. 200-203
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composition: Op. 2, Variations, complete
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As in bars 128-131, in A the L.H. octaves are written down in an abridged manner with the use of con 8va. In the editions the octaves were written out in full. The absence of this indication in AsI could be merely a simplification of notation. category imprint: Differences between sources; Editorial revisions; Source & stylistic information issues: GE revisions , Bass register changes , Abbreviated octaves' notation |
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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 |
root on the third one.- « Previous
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