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b. 2-6
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composition: Op. 2, Variation IV, primitive version
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As in bars 1 and 5, in AsI the R.H. hemidemisemiquaver passages are not moved in parallel with the melody semiquavers. This is the initial version, subsequently simplified by reducing the number of large leaps. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 2-6
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composition: Op. 2, Variation IV, primitive version
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In AsI there are no flats restoring b category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Omissions to cancel alteration , Inaccuracies in A |
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b. 3
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composition: Op. 2, Variation IV, primitive version
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The version of the 2nd half of the bar added in AsI seems to be the first version of the final text, hence we regard it as a variant of the latter. However, as upon the return of this bar (bar 19) AsI has only one version, identical to the final one, all three versions can be actually treated interchangeably. The AsI notation is inaccurate in terms of accidentals – in the principal version the category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Accidentals in different octaves , Cautionary accidentals , Accompaniment changes |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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This bar belongs to one of the few places in which Chopin, while working on this variation, changed the shape of the melody formed by the R.H. topmost notes (see also bars 11 and 24). The interpretation of the AsI notation presents some difficulties, since it is uncertain whether the 3 grace notes, which could have been added later, were supposed to complement the figuration or whether they were an original way to mark the change of concept of the topmost notes to the final version. The latter is supported by analogous bar 20, in which AsI includes the final version entered without hesitation. In either case, the notation of these grace notes is puzzling, since each is provided with a different form: a semiquaver, a slashed quaver, a quaver, respectively. Perhaps Chopin wanted to try out different forms of notation to see which one would suit him best. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Terzverschreibung error , Errors in the number of ledger lines , Accompaniment changes , Main-line changes |
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b. 4
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composition: Op. 2, Variation IV, primitive version
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While writing AsI, Chopin committed 2 rhythmic mistakes – the third bass F is a quaver, and not a semiquaver, while the 4th R.H. hemidemisemiquaver group was initially written with five beams, hence in twice as short rhythmic values. The latter was subsequently corrected by combining the two topmost beams into one. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Rhythmic errors |
1 in 
(b2) and a 
(b
