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Op. 2, Variation IV, primitive version

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b. 16

composition: Op. 2, Variation IV, primitive version

Notation in AsI

Notation in AsI

Notation in A

Notation in A
..

The manuscripts differ in the notation of the L.H. semiquavers – in AsI they are on the bottom stave, while in A Chopin wrote them on the top stave, emphasising the fact that both hands coincide on these notes.

category imprint: Differences between sources

b. 16

composition: Op. 2, Variation IV, primitive version

..

Both manuscripts are missing a few necessary accidentals in this bar – a  to g2 and naturals to g2, d1 and g1. In addition, in AsI the  to d2 is missing. On the other hand, in A there is an unjustified  to c1 in the last L.H. figure. The latter and both accidentals written in A to the topmost R.H. notes are placed much lower than the noteheads they concern.

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

issues: Accidentals in different octaves , Cautionary accidentals , Omission of current key accidentals , Accidental below/above the note , Inaccuracies in A

b. 16

composition: Op. 2, Variation IV, primitive version

..

In AsI one can see that initially the first 2 notes of the L.H. passage on the 2nd quaver were G-g. It could have been a quickly abandoned initial concept (there is no similar change in the next passage) or a result of the composer's momentary distraction.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections of AI

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