mUltimate Chopin

Op. 27 No 1, Nocturne in C# minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Rhythm
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Rhythm

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

b. 83

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

Bar line in GE

No bar line in FE (→EE)
..

The irregular notation of GE is nevertheless clear and most probably authentic which is why we give it in the main text. We also regard Chopin's intervention during the proofreading of FE as a very unlikely explanation of the lack of bar line in FE (→EE).

category imprint: Differences between sources

issues: FE revisions

b. 83

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

Minim a1-a2 in GE

Dotted minim in FE

EE1 (→EE2)

Only a2 with a dot in EE3
..

The rhythm notation in GE, in which the rhythmic values of both marked voices of the R.H. add up to a dotted minim written in the L.H., is formally correct and makes musical and pianistic sense. There is no reason to doubt its compliance with [A]. Adding in FE (→EE1→EE2) of the dots extending the octave a1-a2 is most probably the engraver's fault, as he failed to grasp that the minim d sharp 2 was supposed to sound on the 3rd beat of the bar together with g sharp1-f sharp2-g sharp2. The version of EE3, clearly erroneous, could have originated as a result of an unfinished attempt to restore the version of  GE.

category imprint: Differences between sources

issues: EE revisions , FE revisions

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