mUltimate Chopin

Op. 2, Variation IV, primitive version

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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. 18-22

composition: Op. 2, Variation IV, primitive version

..

As in bars 2 and 6, in A there are no accidentals to the last hemidemisemiquaver of the 2nd and 4th R.H. figures in bars 18 and 22, a  (b2) and a  (b2), respectively. In AsI these accidentals are not necessary, since in the version of this manuscript, the aforementioned notes are absent. On the other hand, there is no  to the 2nd note in the 2nd L.H. figure in bar 18 (b). In this context, the patent inaccuracies do not raise any doubts concerning the text.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Inaccuracies in A

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. 20

composition: Op. 2, Variation IV, primitive version

..

We add a cautionary  before e1 in the main text.

category imprint: Editorial revisions