|
b. 31
|
composition: WN 37, Lento con gran espressione
..
In the main text and the substantive transcription of A1 we add a cautionary category imprint: Differences between sources; Editorial revisions issues: Revisions in EL |
|||||||||||||||||||
|
b. 32
|
composition: WN 37, Lento con gran espressione
..
The version of A1 featuring d category imprint: Differences between sources issues: Errors of A |
|||||||||||||||||||
|
b. 32
|
composition: WN 37, Lento con gran espressione
..
The notation of this bar in CJ and CK may be misleading – it contains 5 crotchets, divided 2+3 with a simultaneous change of tempo so that the 3 crotchets of the second half of the bar last as long as the 2 in the first half. It is evident when one has access to A1, in which the origin and hence the correctness of such an interpretation directly results from the polymetric notation of the 1st half of the bar continued from the previous bars. However, the notation of the aforementioned copies does not offer any hints as to such an interpretation of this notation. Therefore, we introduce additions specifying the structure of the bar and the relationship between its parts. It was also Balakirev and Kolberg that introduced changes striving in this direction. The former divided the bar in two in his copy, whereas the latter signalised the structure of the bar in EL by putting two small lines between the 2nd and 3rd beats. The dotted rhythm on the 2nd beat of the bar is probably a mistake of the copyist – see the note in the 2nd half of the bar. category imprint: Differences between sources; Editorial revisions issues: Kolberg's revisions , Balakirev's revisions |
|||||||||||||||||||
|
b. 32
|
composition: WN 37, Lento con gran espressione
..
When interpreted literally, the rhythm written down in CJ suggests a very unnatural combination of four crotchets in the R.H. and five in the L.H. Taking into account the inaccurate alignment between the L.H. and the R.H. (cf., e.g. 2 previous bars), in the 2nd half of the bar we get two crotchets in the R.H. against three in the L.H. While such polymeter is present in an earlier version of A1 (in the previous bars), in [A2] Chopin replaced it with simpler, regular rhythmic divisions. Such a change in the opposite direction, not marked in any way, is inconceivable here, hence we consider this notation to be Ludwika's mistake. category imprint: Interpretations within context; Differences between sources issues: Errors of JC , Inaccuracies in JC |
|||||||||||||||||||
|
b. 32
|
composition: WN 37, Lento con gran espressione
..
CK is lacking in the category imprint: Interpretations within context; Differences between sources issues: Balakirev's revisions , Errors in CK |
before b. The accidental was also added in 
2 in 
raising f
1. This patent mistake was not repeated in