Rhythm
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b. 17
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composition: Op. 22, Andante spianato
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The change of the written-down rhythmic values of the run was an arbitrary decision of the publisher, who could have taken into account the theoretical speed of performance: in this bar it is 14 notes that fall on 4 semiquavers, whereas in b. 41 and 49, 11 and 10, respectively. category imprint: Differences between sources issues: EE revisions |
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b. 27
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composition: Op. 22, Andante spianato
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This is the first out of two places in which the graphical retouches in the latest impression of GE1, marked in our system as GE1a, contributed to a rhythmic mistake: the quaver flag next to g2 was overlooked. GE2 (→GE3) contains the correct text. category imprint: Interpretations within context; Differences between sources |
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b. 39
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composition: Op. 22, Andante spianato
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It is unclear how 7 R.H. semiquavers should be grouped, according to Chopin. According to us, the grouping indicated by Chopin in analogous b. 15 is the most likely; a corresponding digit was added in GE. An alternative solution is a septuplet, which is a default interpretation in the face of the absence of other indications. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , GE revisions |
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b. 41
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composition: Op. 22, Andante spianato
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The missing tie of e3 in EE may be a mistake of the engraver or a version from before the last proofreading, repeated after FE. category imprint: Differences between sources issues: Errors in EE |
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b. 43
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composition: Op. 22, Andante spianato
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In FE the layout of the R.H. run against the L.H. semiquavers almost certainly does not correspond to the performance intended by Chopin – cf. similar situations in b. 17 and 41, in which the R.H. part was laid out 'at a guess,' without considering its alignment with the L.H. part. Therefore, in the main text we suggest the layout adopted in EE, which suggests the run's tempo comparable to the one of the remaining figures written in small notes. The alternative versions are based on an assumption that, just like in the remaining figures, the notation of [A] indicated the performance manner with the help of the rhythmic values of the remaining notes in the bar, yet in the editions the value of the first a2 was misinterpreted. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE |
