mUltimate Chopin

Op. 27 No 1, Nocturne in C# minor

Text Compare Notes Sources Description

Issues : Dotted rhythms and triplets

b. 49

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

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

Notation in keeping with the usual Chopin's understanding of such figures
..
In bar 49 in GE (→FE→EE) the semiquaver of the double dotted rhythm in the right hand part was moved beyond the third note of the second triplet in the accompaniment. This inauthentic notation, misleading for the performer, was also used in bars 37-42 and 44-45.
 
See the chapter devoted to that topic in: Jan Ekier, Introduction to the National Edition, Editorial Issues.
 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Dotted rhythms and triplets

b. 50

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
..

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 the notation of [A], and has no impact on the performance. In the main text, we apply the regular rhythmic notation, so did EE.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , 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
..

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. 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


 
..

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