ABSTRACT
The morphology of Frederic Chopin’s variations is considered from the point of view of those variable elements; consequently, it is they, and not –as in the divisions cited–the fixed elements that form the basis for distinguishing different categories of variation. The largest group among Chopin’s variations comprises those in which the melody of the model undergoes change. Appearing quite frequently in Chopin are the so-called ornamental variations, which arise through the embellishment of the original melodic line. The simplest form of Chopin’s ornamental variations is that in which the ornament is the only device distinguishing them from the prototype, whilst all the other elements, including the texture, remain constant. Variations in which the melody is altered are frequent in Chopin, whilst a complete break with the model’s melody is rare. Changes in the area of piano texture are particularly frequent when Chopin repeats both short motifs and also larger segments of a work, in thematic sections and bridges.
