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Op. 2, Variation IV, primitive version

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b. 9

composition: Op. 2, Variation IV, primitive version

Repetition in AsI, contextual interpretation

No repetition in A
..

The presence of two volte in bar 24 proves that Chopin envisioned in AsI a repetition of the 2nd part of the variation. In the entire piece, AsI does not include a single standard repeat sign, although in a few places – as is the case here – alternative endings of certain sections prove that repetitions were intended. See also bar 8.

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category imprint: Differences between sources; Corrections & alterations

issues: Changed phrase length

b. 11

composition: Op. 2, Variation IV, primitive version

3rd note b in AsI

3rd note g in A
..

In AsI the 3rd hemidemisemiquaver in each group is b. However, the manuscript bears traces of hesitation with respect to the pitch of these groups – in three of them, over the 4th note (c) one can see an added notehead of a g note, crossed out in the 1st and 3rd groups. Therefore, it seems that Chopin pondered replacing the final c note with g, yet he gave up on the idea. The A text, in which g replaced not the 4th, but the 3rd note in the passages (b) would mean that Chopin changed the 2nd pair of hemidemisemiquavers in these figures 3 times – he started from b-c, which he changed to b-g, then he returned to initial b-c, to eventually change them to g-c.

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

issues: Chopin's hesitations , Accompaniment changes , Corrections of AI

b. 11

composition: Op. 2, Variation IV, primitive version

..

AsI includes a few unjustified cautionary accidentals in this bar: a  to the R.H. b1 note at the beginning of the bar, a  to e1 in the 2nd and 4th L.H. hemidemisemiquaver groups and a  to e2 in the 2nd R.H. group.

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category imprint: Differences between sources

issues: Cautionary accidentals

b. 11

composition: Op. 2, Variation IV, primitive version

g3 in AsI

b3 in A
..

The g3 note featured in AsI is compliant with g3 in bar 15, which is a counterpart of bar 11 in the repetition of this four-bar phrase. The idea of diversifying the melodic line here (introduced in A) was then also used in the final version of this variation.

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category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 12

composition: Op. 2, Variation IV, primitive version

Divergent arpeggio in AsI

Convergent arpeggio in A
..

In AsI Chopin continues the principal scheme of contrary motion passages one quaver longer. In A version, Chopin made the arrangement of the figures in this bar look like in bar 8.

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category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes