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WN 37, Lento con gran espressione

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b. 40-43

composition: WN 37, Lento con gran espressione

..

In CJ and CK b. 40-41 are framed with repeat signs (CK is lacking in the closing one). It certainly corresponds to the notation of [A2], yet it was most probably aimed at saving space only. This notation generates uncertainty as to the placement of rallent. written in these bars.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 44

composition: WN 37, Lento con gran espressione

 in A1, CJ & EL

in CK (→CB)
..

 is most probably Kolberg's mistake in CK (→CB), considering that all the remaining sources feature .

category imprint: Differences between sources

b. 44

composition: WN 37, Lento con gran espressione

Crotchet, 2 quavers & triplets in A1

Triplets in CJ, contextual interpretation

Triplets in CK

Triplets in CB

Triplets in EL
..

The rhythmic notation of A1 gives rise to doubts in this bar, since in spite of the change of time signature to , the bar contains 5 crotchets. Initially, Chopin most probably envisioned triplet movement, like in the version of [A2] (→CJ,CK), yet he eventually changed the first note from a quaver to a crotchet and added rests. Therefore, we adopt this notation, imprecise, yet suggestive, as the text of this autograph.

The rhythm of the sources coming from [A2] is generally unambiguous; although it is only in CB that the notation can be considered correct, minor inaccuracies in the remaining sources do not hamper its interpretation. In the main text we give the text of CJ, completed with a rest for the R.H. part, without which the notation could be misleading.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Errors resulting from corrections , Deletions in A , Main-line changes

b. 44

composition: WN 37, Lento con gran espressione

No fingering in A1, CJ, CK & EL

Fingering in CB
..

There are no indications that Balakirev disposed of an authentic message concerning the fingering. It is almost certainly his own suggestion.

category imprint: Differences between sources

issues: Balakirev's revisions

b. 44-45

composition: WN 37, Lento con gran espressione

No pedalling in sources

Pedalling suggested by the editors
..

In the main text we suggest adding pedalling under the passage that ends the middle section of the Lento. The pedalling is modelled after an authentic indication in the ending of the 2nd movement of the Concerto in F Minor, Op. 21, from which this passage was drawn.

category imprint: Editorial revisions