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Op. 2, Variation IV, primitive version

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b. 1-5

composition: Op. 2, Variation IV, primitive 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 A
..

In bars 1 and 5, in the principal AsI version, the R.H. hemidemisemiquaver figures do not advance in parallel to the semiquavers constituting the melody. In the 1st half of bar 1, Chopin already added an alternative version, close to the later A version. According to us, this version is to be considered a draft of a new idea, containing the default instruction 'and so on and so forth'. This is indicated by analogous bar 17, in which the A version is marked in the form of a similar addition throughout the entire bar. We provide the AsI addition interpreted as such as a variant of the later version in both bars (1 and 5). See also bars 2-6 and 7.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 1-5

composition: Op. 2, Variation IV, primitive version

B in AsI

d in A
..

In AsI the 4th hemidemisemiquaver figure in bars 1 and 5 is the same as the third one, although the semiquaver ending the passage is different – D instead of B1. Moreover, this semiquaver was changed in the stage of writing AsI, which is proven by the visible corrections to this note in bars 1 and 21. Back then Chopin settled for the correction of the bass line only, since in the stage of writing AsI he would use other intervals than an octave between the last hemidemisemiquaver and the following semiquaver much more frequently than in the final version.

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

issues: Accompaniment changes , Corrections of AI

b. 2-6

composition: Op. 2, Variation IV, primitive version

Arpeggios from g1 in AsI

Arpeggios from b1, c2 & b1 in A
..

As in bars 1 and 5, in AsI the R.H. hemidemisemiquaver passages are not moved in parallel with the melody semiquavers. This is the initial version, subsequently simplified by reducing the number of large leaps.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 2-6

composition: Op. 2, Variation IV, primitive version

..

In AsI there are no flats restoring b3 at the end of bars 2 and 6. This is a patent mistake – Chopin wrote 'b' over each of those notes. In A those flats are present, yet the accidentals to the 4th note of the 2nd and 4th R.H. passages, a  (b2) and a  (b2), respectively, are missing. This inaccuracy does not create any doubts concerning the text either.
A similar situation is to be found in bars 18 and 22. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Omissions to cancel alteration , Inaccuracies in A

b. 3

composition: Op. 2, Variation IV, primitive version

b1-c2 & g1-c2 in AsI, basic version

b1-e2 & g1-e2 in AsI, later version

2 times b1-e2 in A
..

The version of the 2nd half of the bar added in AsI seems to be the first version of the final text, hence we regard it as a variant of the latter. However, as upon the return of this bar (bar 19) AsI has only one version, identical to the final one, all three versions can be actually treated interchangeably.

The AsI notation is inaccurate in terms of accidentals – in the principal version the  raising e2 to e2 is written only just in the 4th R.H. figure, while in the added version there is no natural at all. On the other hand, in the L.H. part, Chopin unnecessarily repeated a  to e1 in the 4th passage.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Accidentals in different octaves , Cautionary accidentals , Accompaniment changes