mUltimate Chopin

Op. 2, Variation IV, primitive version

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 17-23

composition: Op. 2, Variation IV, primitive version

Arpeggios from f1 in AsI, basic version

Arpeggios from f1 in AsI, basic version

Arpeggios from b1, c2, d2 & b1 in AsI, later version, contextual interpretation

Arpeggios from b1, c2, d2 & b1 in AsI, later version, contextual interpretation

Arpeggios from b1, c2, d2 & b1 in A

Arpeggios from b1, c2, d2 & b1 in A
..

As in bars 1 and 5, in AsI Chopin generally wrote 2 versions of this bar. The earlier one, which we consider the text of this source, is written in normal-sized font, whereas the later one was added in small notes. It is noteworthy that, unlike at the beginning of the variation, in this case the second version encompasses the entire bar, and in the R.H. part it is the same as the final A version. On the other hand, in the L.H. part, in the added 2nd hemidemisemiquaver group, the 2nd note is c1, and not a, which we see in A. A more detailed analysis of notation in this place reveals that the finally adopted a was most probably also added to AsI, next to c1, which is more distinct.

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

issues: Accompaniment changes , Corrections of AI

b. 17-21

composition: Op. 2, Variation IV, primitive version

B in AsI

d in A
..

As was the case with bars 1 and 5, the AsI version of the last note of the 4th hemidemisemiquaver group in bars 17 and 21 (written down as a repetition of the preceding one) is a transitional stage between the initial version featuring B1 as the last bass note in these bars and the final version present in A.

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

issues: Accompaniment changes , Corrections of AI

b. 18-22

composition: Op. 2, Variation IV, primitive version

Arpeggios from g1 in AsI

Arpeggios from g1 in AsI

Arpeggios from b1, c2 & b1 in A

Arpeggios from b1, c2 & b1 in A
..

As in the initial fragment of this variation – see bars 1 and 5 – the initial version of bars 18 and 22 keeps the position of the arpeggio-like figures, which, combined with the melody semiquavers, results in greater leaps.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 20

composition: Op. 2, Variation IV, primitive version

f1-e1-c1 in 1st & 4th group in AsI

f1-c1-a in 1st & 4th group in A
..

In AsI the version of the 4th L.H. figure is the initial version – cf. bar 4. Meanwhile, the notation of the 1st figure is most probably erroneous – an e seventh never occurs at the beginning of a 4th bar, neither in the theme nor in any variation. The mistake is also indicated by the way the 4 identical groups were written down – the first 2 are written out with notes, while the abbreviations marking a repetition start only just from the 3rd figure, which suggests that the first two were not supposed to be identical.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 23

composition: Op. 2, Variation IV, primitive version

Arpeggios from a1 in AsI

Arpeggios from a1 in AsI

Arpeggios from c2 in A

Arpeggios from c2 in A
..

As in bar 7, in A Chopin changed the position of the R.H. hemidemisemiquaver figures, thus bringing them closer to the melody semiquavers.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes