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WN 37, Lento con gran espressione

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b. 55

composition: WN 37, Lento con gran espressione

No slur in A1 & EL

Slur in CJ & CK, literal reading

Slur in CB & #contextual interpretation of CJ & CK
..

category imprint: Interpretations within context; Differences between sources

issues: Inaccurate slurs in A

b. 56

composition: WN 37, Lento con gran espressione

Grace notes in A1 & CJ

No grace notes in CJ (→CK) & EL
..

The missing grace notes opening the trill are almost certainly Kolberg's mistake, who interpreted them as a . This version was copied in CB and EL, yet Balakirev omitted the , completely superfluous in this context (on the crossed-out first version of the last page of CB, one can see that the Russian composer started writing this , yet after putting the first vertical line, he realised that it was pointless here and abandoned it).

category imprint: Differences between sources

issues: Errors in CK

b. 56

composition: WN 37, Lento con gran espressione

No signs in A1

  in CJ & CB

 & accent in CK

 in EL
..

We consider the accent under the grace note in CK to be an inaccurately written  hairpin. This is how the mark was interpreted by Balakirev in CB. The mark, musically unjustified, was omitted in EL.

category imprint: Differences between sources

issues: Balakirev's revisions , Inaccuracies in CK , Revisions in EL

b. 56

composition: WN 37, Lento con gran espressione

f in A1, CJ & CK (→CB)

g in EL
..

The version of EL is probably Kolberg's revision. However, one cannot rule out a mistake (e.g. of the engraver) due to the resemblance of the accompaniment in b. 55-56 and 51-52. 

category imprint: Differences between sources

issues: Revisions in EL

b. 56

composition: WN 37, Lento con gran espressione

Unslashed grace note in A1 & CB

Slashed grace note in CJ, CK & EL
..

In #A one can see that Chopin initially provided the trilled note with the value of a double dotted minim, whereas the c2 note ending the trill – with the one of a quaver. It was still in A1 that he changed it to a semibreve and a non-slashed grace note. Therefore, the notation of [A2] featuring a slashed grace note, confirmed by CJ and CK, may be considered the last stage of the process of delaying the moment of playing the final c2 note. However, the difference in the notation of the grace note does not have to be meaningful, since in the Chopinesque notation both versions can be equal.

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

issues: Deletions in A , Corrections of AI