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Issues : Dotted or even rhythm

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b. 44-53

composition: Op. 28 No. 24, Prelude in D minor

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The evenly spaced three notes in the 2nd half of b. 44, 46, 48, 50, 52 and 53 suggest that they were initially supposed to be quavers; the last one was changed to a semiquaver already in the written text. The gaps themselves are a foundation too fragile for such a conclusion; however, one can indicate a few other arguments in favour thereof:

  • the absence of this phenomenon in the first part of the Prelude – prior to b. 40, in all dotted rhythms the gaps between the notes reflect the proportions of rhythmic values;
  • the last note having been definitely shortened from quaver to semiquaver in b. 38;
  • notation in b. 40, in which the correction is evidenced both by the gaps (greater between the 1st and 2nd notes than between the 2nd and 3rd) and the semiquaver beam (added too low and clumsily);
  • clearly darker shade of the semiquaver beams in b. 52-53, which indicates that they were added later.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Main-line changes , Dotted or even rhythm

b. 46

composition: Op. 25 No 11, Etude in A minor

Quavers in GC (→GE)

Dotted rhythm in FE & EE
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Based on the fact of writing the part of the L.H. under the semiquavers of the R.H., the equal quavers in GC (→GE) are a result of a mistake of the copyist who forgot to add the dot extending b and semiquaver beam.

category imprint: Differences between sources

issues: Errors of GC , Dotted or even rhythm

b. 47-48

composition: Op. 2, Variations, complete

Semiquavers in AsI

Rhythms with rest in A (→GE→FE,EE,FESB)
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category imprint: Differences between sources; Corrections & alterations

issues: Dotted or even rhythm

b. 55

composition: Op. 30, Mazurka in D♭ major

Quavers in FC (→GE)

Quaver & semiquaver in FE (→EE) & GE2
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In the main text we give the FC (→GE) version. Although in analogous bars 49, 51 and 53 the second note is a semiquaver, the g2 quaver does not seem to be a mistake – together with the e2 note (prolonged due to the fact that it was played before), it is the quaver that constitutes an augmented version of the dotted rhythm opening the motif (). This rhythmic extension also impacts the next bar, which opens with a minim, and not with a crotchet. The semiquaver in FE (→EE) could have resulted from the engraver having misunderstood [A]; the engraver, influenced by the notation of bars 49, 51 and 53, considered the missing semiquaver beam to be a mistake.

category imprint: Differences between sources

issues: Errors in FE , Dotted or even rhythm

b. 61

composition: Op. 26 No 1, Polonaise in C♯ minor

Quavers in A

Dotted rythm in FE (→GE,EE)
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The change of the rhythm introduced in the proofreading of FE1 includes all features of a Chopin improvement.

category imprint: Differences between sources

issues: Authentic corrections of FE , Dotted or even rhythm