mUltimate Chopin

Op. 2, Variation IV, primitive version

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b. 22

composition: Op. 2, Variation IV, primitive version

..

AsI contains an unjustified  to e1 in the 3rd L.H. passage; on the other hand, in the same passage, the  restoring b3 at the end of the bar is missing.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Cautionary accidentals

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
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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

b. 24

composition: Op. 2, Variation IV, primitive version

Repetition of b. 9-24 in AsI

Repetition of b. 9-24 in AsI

No repetition of b. 9-24 in A
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As in bars 1-8, in AsI it is also the entire second part that is repeated (from bar 9), as proved by two versions (volte) of bar 24 – the first one links bars 23 and 9, while the second is an equivalent of bar 24 in A.

category imprint: Differences between sources; Corrections & alterations

issues: Changed phrase length

b. 24

composition: Op. 2, Variation IV, primitive version

Divergent arpeggios in AsI, basic version

Divergent arpeggios in AsI, basic version

Convergent arpeggio in AsI, alternative version, contextual interpretation

Convergent arpeggio in AsI, alternative version, contextual interpretation

Convergent arpeggio in A

Convergent arpeggio in A
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In the principal AsI version, the last bar of this variation does not differ from the previous ones in terms of texture. However, on the adjacent staves, an idea for a new ending was drafted. What is more, Chopin introduced there a correction to the first L.H. triplet: B1-D-F (as in A) was changed to B1-F-B, resulting in – assuming that the passage should be performed with pedal, which is quite obvious – a more harmonised sound of the whole. It is difficult to say why Chopin did not include this correction in A; nevertheless, we consider both versions to be equal.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 24

composition: Op. 2, Variation IV, primitive version

..

In AsI, in the 1. volta of this bar, the last 2 hemidemisemiquavers in the 4th R.H. passage are written as c2-a1. This is Chopin's mistake that remained uncorrected – cf. bar 8 (2. volta), in which the same mistake was corrected. Probably while drafting this place, Chopin initially planned to use an F major chord before writing a new version, based on a B major chord, only in the L.H. part, which required more serious alterations, that is change of the bass note and the passage position.

category imprint: Interpretations within context; Differences between sources