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Crotchet, 2 quavers & triplets in A1 |
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Triplets in CJ, contextual interpretation |
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Triplets in CK |
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Triplets in CB |
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Triplets in EL |
Reconstruction of the notation of A1 prior to the correction: 
. The slur was probably meant to be a part of the triplet marking, while the rest on the bottom stave was written by Chopin in the place where the notation moved to the top stave. He then crossed out the 1st note and wrote the G
1 crotchet next to it; it was most probably only then that he added two crotchet rests – one under the two quavers opening the R.H. part and the other on the last beat of the bar. Such a rhythm suggests performing the beginning of the passage poco ritenuto, which is similar to the effect we find in the ending of the 2nd movement of the Concerto in F Minor, Op. 21, which served as the prototype for this passage – the first note is marked there with a fermata. Taking into account the return to four beats filled with quaver triplets, which occurred later, one can doubt whether the described change of rhythm is not merely a mistake, a side effect of the first note having been moved an octave lower. Therefore, the rhythmic values of the intended notation would be compliant with the text of CJ adopted in the main text. Minor discrepancies in the remaining sources coming from [A2] are mainly accidental inaccuracies and do not influence the interpretation of the rhythm. In the main text we give the text of CJ, completed with a rest for the R.H. part, without which the notation is inaccurate.
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
notation: Rhythm
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