mUltimate Chopin

Text Compare Notes Sources Description

Issues : Centrally placed marks

b. 58

composition: WN 37, Lento con gran espressione

 & velociss. in A1, literal reading

 & velociss. in A1, contextual interpretation

sempre più piano in CJ & CK

sempre più  in CB

delicat. & sempre più piano in EL

sempre più piano suggested by the editors
..

In A1 both indications –  and velociss. – are written close to the middle of the 2nd half of the bar, which certainly does not directly translate into the performance in this context – neither  nor velociss. can start to be valid only just in the second quarter of the run, where they are placed. Therefore, it is a striking example of indications placed near the middle of their scope; therefore, in the substantive transcription of A1 we move them to the beginning of the run. The fact that sempre più piano was placed in CJ and CK under the bottom stave probably corresponds to the notation of [A2]; however, it could have been forced by the lack of space between the staves. According to us, this indication applies not only to the L.H. part, but to the entire musical course in a longer perspective than the   hairpins, which concern the run only – cf. the indications in the next bars: delicato, delicatissimo,  and . The changes and additions performed to the indication in CB and EL cannot be authentic.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Centrally placed marks , Balakirev's revisions , Revisions in EL

b. 59

composition: WN 37, Lento con gran espressione

No indication in A1

delicato in CJ, CK (→CB) and EL
..

In the main text we give the delicato indication according to [A2] (→CJ,CK→CB) and EL. In both copies based on [A2] the indication begins approximately under the 3rd small quaver, which is a characteristic inaccuracy – cf. b. 57. In the substantive transcription (the version "redaction") of both copies we place the indication at the beginning of the 2nd half of the bar, in accordance with the contemporary editorial practices.

category imprint: Interpretations within context; Differences between sources

issues: Centrally placed marks

b. 60

composition: WN 37, Lento con gran espressione

rall. in A1

delicatiss. & rallent. in CJ i CK

delicatissimo in CB

delicatiss. & rallent. in EL
..

Just like in the previous bar, in the main text we include delicatiss. present in the sources coming from [A2] – CJ, CK (→CB) and EL. In the earlier copies – CJ and CK – the indication is placed centrally under the R.H. run. The omission of rallent. in CB is Balakirev's revision, who replaced three authentic indications in b. 60-63 with one in b. 62-64. 

category imprint: Interpretations within context; Differences between sources

issues: Centrally placed marks , Balakirev's revisions

b. 64

composition: Op. 11, Concerto in E minor, Mvt II

 on 2nd beat in FE (→EE,GE1→GE2)

 on first beat in GE3
..

Placing the  mark only next to the 2nd crotchet in the bar is probably an example of the Chopinesque manner of placing indications within, and not at the beginning of, their scope of validity. Nowadays, such notation is not used, hence in the main text we move the mark to the beginning of the bar, accordingly to the musical sense.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Centrally placed marks

b. 75-83

composition: Op. 35, Sonata in B♭ minor, Mvt III

 before 2nd beat in the sources

 at the beginning of bar suggested by the editors
..

The placement of the  sign in bars 75 and 83 – see bar 21.

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks