mUltimate Chopin

Op. 2, Variation IV, primitive version

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b. 4

composition: Op. 2, Variation IV, primitive version

e4, d4, c4 in AsI, total interpretation

e4, d4, c4 in AsI, probable basic version (no grace notes)

3 times f3 in A
..

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.
Moreover, both manuscripts differ slightly in the version of the 2nd and 4th L.H. figures – see the note below.  

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

b. 4

composition: Op. 2, Variation IV, primitive version

..

In the main text we add a cautionary  to e1. The flat is present in this figure also in AsI (to the 1st hemidemisemiquaver – see the note above).

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals

b. 4

composition: Op. 2, Variation IV, primitive version

e1-c1-a & f1-e1-c1 in AsI

f1-e1-c1 & f1-c1-a in A
..

Chopin was gradually reaching the satisfying pitch of the three topmost notes in the 2nd and 4th L.H. figures. In this bar, both AsI figures differ from the A version, but in analogous bar 20 it is only the 4th figure that is different, and the 2nd figure is identical in both manuscripts.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 6

composition: Op. 2, Variation IV, primitive version

..

When writing the melody semiquavers without an octave sign, Chopin committed 14 mistakes in the entire variation, including 6 Terzverschreibung mistakes, which in this context consist in writing one ledger line too many. The list below shows the mistakes:

  • bar 6 – d4 instead of b3, d4 instead of c4, d4 instead of b3 (the first mistake was perhaps corrected by combining two ledger lines into one);
  • bar 7 – all 4 notes, c4 instead of a3, d4 instead of b3, f4 instead of c4, f4 instead of d4;
  • bar 9 – e4 instead of c4, e4 instead of f4;
  • bar 10 – d4 instead of c4;
  • bar 19 – b3 instead of c4;
  • bar 22 – b3 instead of c4;
  • bar 23 – b3 instead of a3, b3 instead of c4.

The letter names of notes written over the notes allow us to easily detect these mistakes.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Terzverschreibung error , Errors in the number of ledger lines

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