Issues : Main-line changes
|
b. 4
|
composition: Op. 2, Variation IV, primitive version
..
This bar belongs to one of the few places in which Chopin, while working on this variation, changed the shape of the melody formed by the R.H. topmost notes (see also bars 11 and 24). The interpretation of the AsI notation presents some difficulties, since it is uncertain whether the 3 grace notes, which could have been added later, were supposed to complement the figuration or whether they were an original way to mark the change of concept of the topmost notes to the final version. The latter is supported by analogous bar 20, in which AsI includes the final version entered without hesitation. In either case, the notation of these grace notes is puzzling, since each is provided with a different form: a semiquaver, a slashed quaver, a quaver, respectively. Perhaps Chopin wanted to try out different forms of notation to see which one would suit him best. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Terzverschreibung error , Errors in the number of ledger lines , Accompaniment changes , Main-line changes |
|||||||||||||||||||
|
b. 8
|
composition: Op. 2, Variation IV, primitive version
..
In the 1st half of the bar (2. volta) the principal AsI version (written first, with normal-sized notes) refers to the principal version of bars 1-2 and 5-6 – the hemidemisemiquaver group does not move in parallel with the melody semiquavers. Nevertheless, this version is compatible (in an acceptable way) with both versions of the 2nd half of bar 7, hence these places can be treated independently. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
|||||||||||||||||||
|
b. 11
|
composition: Op. 2, Variation IV, primitive version
..
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. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
|||||||||||||||||||
|
b. 12
|
composition: Op. 2, Variation IV, primitive version
..
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. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
|||||||||||||||||||
|
b. 12
|
composition: Op. 2, Variation IV, primitive version
..
The principal AsI version (normal-sized notes, on main staves) clearly deviates in terms of interval structure and hand position from the otherwise prevailing figuration scheme. This could have been the reason for the addition of an alternative version, which became the mandatory model already in the stage of writing A. See also bar 13. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
4, d4, c4 in 
to g
