mUltimate Chopin

Op. 27 No 1, Nocturne in C# minor

Text Compare Notes Sources Description

Issues : Dotted rhythms and triplets

b. 5-13

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
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In bar 5 in GE (→FE→EE) the semiquaver in the figure  is moved to after the third note of the triplet in the accompaniment, similarly in bars 9, 11 & 13. This inauthentic notation, misleading for the performer, was used throughout the Nocturne – cf. bars 15, 51, 88, 89.

See the chapter devoted to this topic in: Jan Ekier, Introduction to the National Edition, Editorial Issues.

category imprint: Interpretations within context

issues: GE revisions , Dotted rhythms and triplets

b. 15-26

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 15 in GE (→FE→EE), the semiquaver in the figure  was moved beyond the 3rd note of the triplet in the accompaniment, similarly in bars 17, 20-22, 24-26. This inauthentic notation, misleading for the performer, was used throughout the Nocturne.

category imprint: Interpretations within context

issues: GE revisions , Dotted rhythms and triplets

b. 29-36

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

R.H. quaver over the 6th L.H. note in GE

Regular rhythmic notation in FE (→EE)
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In bars 29-36 (and further ones – cf. bars 48, 50, 51 & 53-62), GE has the quaver of the R.H. part placed directly over the last note of the 2nd L.H. triplet. In the editors' opinion, this is not in line with Chopin’s intentions; instead, it reflects the manner of the GE engraver.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: GE revisions , Dotted rhythms and triplets

b. 37-45

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

GE (→FE→EE): semiquaver after the 6th L.H. note

Notation in keeping with Chopin's understanding of such figures
..

In bars 37-42 and 44-45 in GE (→FE→EE) the semiquaver of the double dotted rhythm in the right hand was moved beyond the third note of the second triplet of the accompaniment. This misleading, inauthentic notation was also used for the double dotted rhythm in bar 49 and in the notation of dotted rhythms throughout the Nocturne - cf. bars 5-13.

See also: the note to bars 29-36 and the chapter devoted to that topic in: Jan Ekier, Introduction to the National Edition, Editorial Issues.

category imprint: Interpretations within context

issues: GE revisions , Dotted rhythms and triplets

b. 48

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

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

Correct notation of the rhythm in EE
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Just like in bars 29-36, in bar 48 of GE the rhythm  is irregularly presented against the triplets. FE also contains such notation, despite the fact that in bars 29-36 the identical rhythm was presented regularly. A similar situation also occurs in the following bars.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Dotted rhythms and triplets