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Staccato dots in bars 19, 20 & 23 in AI |
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Dots in bars 20 & 24 in AF |
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No marks in GE |
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Dots in bars 20, 23 & 24 suggested by the editors |
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Dots in bars 19-20 & 23-24 |
Chopin marked with staccato dots only some of the bass notes in b. 19-21 and 23-24 as well as 111-113 and 115-116. The sets of dots differ in particular sources, yet it is the complete lack of dots in the first bar of this section that is noteworthy, i.e. in b. 17 and 109. In the table below, the bass notes provided with a dot in particular sources are marked with the sign of plus, A (b. 19 or 111), E (b. 20 or 112), F
(b. 21 or 113), F (b. 23 or 115) and C (b. 24 or 116):
| Source | Bars | A | E | F |
F |
C |
|---|---|---|---|---|---|---|
| AI | 19-24 |
+
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+
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+
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| AF | 19-24 |
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+
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+
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| 111-116 |
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+
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+
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+
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+
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| FE | 19-24 | + | ||||
| 111-116 | + | + | + | + | ||
| EE | 19-24 | + | ||||
| 111-116 | + | + | + | |||
| GE | 19-24 |
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| GE1 | 111-116 |
+
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+
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| GE2 | 111-116 | + | ||||
| main text |
19-24 111-116 |
+ | + | + | ||
| altern. version |
19-24 111-116 |
+ | + | + | + |
The authentic sources, which we take into account in our analysis and editorial decisions (we omit FE, since Chopin did not introduce there any changes with respect to AF), are written on a grey background.
It is the significant difference in the number of marks between AF and GE that has to be discussed. While writing [AG], Chopin could have rejected the idea of writing separate markings for the L.H., since in such a texture, a mark over a R.H. part written on a bottom stave also refers to the L.H. This would justify the omissions of dots in b. 19, 21, 23 and analog., but not in b. 20, 24 and analog. We also have to be aware that the image of [AG] may be distorted by the carelessness of the engraver of GE1. Therefore, it is the more accurate markings of AF that we regard as more reliable; it is this autograph that we adopt as the basis when editing the main text. In terms of sources, it is the dots in the endings of the four-bar sections that are most certain, under E and C, present in both preserved autographs. In addition, these are the only places in which the indication of staccato requires a mark, since the bass note does not fall together with the R.H. note provided with a dot. In the main text we also place dots in b. 23 and 115, confirmed in two out of three versions in the preserved autographs (AI in b. 23 and AF in b. 115). Another argument is the layout – drawn from AF in b. 23 – in which the R.H. quaver is written on the top stave, which impairs the suggestion of staccato for the L.H. In the alternative version, we also include the dots in b. 19 (AI) and 111 (GE1).
The dot in b. 113, present in AF (→FE→EE), is discussed separately.
Compare the passage in the sources »
category imprint: Differences between sources
issues: Errors in FE
notation: Articulation, Accents, Hairpins
