mUltimate Chopin

Op. 2, Variation IV, primitive version

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Issues : Corrections of AI

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. 7

composition: Op. 2, Variation IV, primitive version

e1-c1 in AsI

c1-a in A
..

In the 1st half of the bar, the L.H. part bears traces of corrections in AsI. While working on this manuscript, the initial version:  was ultimately replaced by the one we give in our transcription. Chopin then once more changed the 2nd and 3rd hemidemisemiquavers in the 1st figure of the bar; in A he returned to the initial version. 

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes , Corrections of AI

b. 8

composition: Op. 2, Variation IV, primitive version

D-B in AsI

D-d in A
..

In AsI one can see that the bass note on the 4th quaver in the bar was remade, that is B1 was changed to D. According to us, it could have been a simplified correction, marking the change of both first hemidemisemiquavers, which would result in a text compliant with A. However, it is only a conjecture, hence we regard the AsI text as an intermediate variant between a figure starting with a B1-B octave and the A version with a D-d octave.

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

issues: Corrections of AI

b. 11

composition: Op. 2, Variation IV, primitive version

3rd note b in AsI

3rd note g in A
..

In AsI the 3rd hemidemisemiquaver in each group is b. However, the manuscript bears traces of hesitation with respect to the pitch of these groups – in three of them, over the 4th note (c) one can see an added notehead of a g note, crossed out in the 1st and 3rd groups. Therefore, it seems that Chopin pondered replacing the final c note with g, yet he gave up on the idea. The A text, in which g replaced not the 4th, but the 3rd note in the passages (b) would mean that Chopin changed the 2nd pair of hemidemisemiquavers in these figures 3 times – he started from b-c, which he changed to b-g, then he returned to initial b-c, to eventually change them to g-c.

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

issues: Chopin's hesitations , Accompaniment changes , Corrections of AI

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