mUltimate Chopin

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Issues : Dotted rhythms and triplets

b. 51

composition: Op. 27 No 1, Nocturne in C# minor

GE (→FE→EE): the semiquaver after the last note of the triplet

Notation in keeping with Chopin's understanding of this figure
..

In bar 51 of GE (→FE→EE) the semiquaver in  was moved beyond the 3rd note of the triplet in the accompaniment. This inauthentic, misleading notation was used throughout the Nocturne.

category imprint: Interpretations within context

issues: GE revisions , Dotted rhythms and triplets

b. 51

composition: Op. 27 No 1, Nocturne in C# minor

R.H. quaver over the 6th L.H. note in GE (→FE)

Regular rhythmic notation in EE
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In GE (→FE) notes of the R.H. rhythm are distributed in such a way that the quaver is aligned with the 6th L.H. note. In the editors' opinion, this probably does not reflect Chopin's intention but we cannot state it definitely without [A]. The rhythmical structure of the bar, different e.g. from that in bars 29-36 & 53-62, as well as the local climax ending in this bar make a possible exception slightly more likely here. In the main text, we apply the regular rhythmic notation, so did EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Dotted rhythms and triplets

b. 51-53

composition: Op. 2, Variations, complete

Rhythm in AsI, contextual interpretation

Rhythm in A (→GE→FE,EE)
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On the 2nd beat of each of these bars, the R.H. top voice is written down in AsI in twice as long rhythmic values than suggested by the time signature and the relation to the bottom voice: . Regardless of the mistake (cf. b. 45-46), it definitely means that the last notes of both voices should be performed simultaneously. However, a change introduced into A suggests that Chopin changed his mind and opted for a calmer rhythm, which, in turn, puts a greater emphasis on the independence of the solo part and the orchestral motifs using the following rhythm: .

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Dotted rhythms and triplets

b. 53-62

composition: Op. 27 No 1, Nocturne in C# minor

R.H. quaver over the 6th L.H. note in GE (→FE)

Regular rhythmic notation in EE


 
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In GE (→FE) in bars 53-62, similarly to GE in bars 29-36, notes of the R.H. rhythm are distributed in such a way that the quaver is aligned with the 6th note of the L.H. In the editors' opinion, this probably does not reflect the notation of [A], and has no impact on the performance. We apply the regular rhythmic notation in the main text, so did EE.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Dotted rhythms and triplets

b. 88

composition: Op. 27 No 1, Nocturne in C# minor

GE (→FE→EE): semiquaver after the last note of the triplet

Notation in keeping with Chopin's understanding of this figure
..

In bar 88 in GE (→FE→EE) the semiquaver in  was moved beyond the 3rd note of the triplet in the accompaniment. This inauthentic, misleading notation was used throughout the Nocturne.

See bars 5-13.

category imprint: Interpretations within context

issues: GE revisions , Dotted rhythms and triplets