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b. 20
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composition: WN 37, Lento con gran espressione
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The slurs in A1 and CK are placed negligently, and – particularly in the case of CK – there may be a doubt whether it was not a longer slur that was meant by Chopin. According to us, there are three musically justified versions – literal interpretation of A1, bar-long slur of CB and the intermediate version we suggest. The latter is a compromise between the shorter slurs of A1 and [A2] (→CK) and the most natural slur of CB, as far as the articulation is concerned. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccurate slurs in A |
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b. 21-31
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composition: WN 37, Lento con gran espressione
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In b. 21-22, 25-26 and 30-32 in A1, the R.H. part is in 3/4 time signature, whereas in the L.H. part the regular quaver accompaniment continues in category imprint: Differences between sources; Corrections & alterations |
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b. 21
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composition: WN 37, Lento con gran espressione
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The extreme nature of category imprint: Differences between sources; Corrections & alterations |
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b. 21-24
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composition: WN 37, Lento con gran espressione
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In the fragment (b. 21-32) that starts here we can encounter a few L.H. slurs marked in a draft manner in A1 – two slurs in b. 22 and one in b. 24. It is only the latter that encompasses an entire four-quaver figure; however, it seems that both earlier ones, although much shorter, bear the same meaning. According to us, Chopin wrote these slurs only just the second time, since the first time (b. 21 and 23) he focused on writing new accompaniment figures correctly. There is no doubt that all bars are to be performed similarly, which leads to our alternative suggestion to add slurs. Since [A] (→CJ,CK) does not feature any slurs in these bars, in the main text we suggest repeating the indication legato, used in b. 6-7, instead. category imprint: Differences between sources; Editorial revisions issues: Inaccurate slurs in A , Balakirev's revisions |
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b. 21
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composition: WN 37, Lento con gran espressione
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The pedalling markings are featured only in the sources coming from [A2]. In both copies based directly on the autograph, the second category imprint: Differences between sources; Editorial revisions issues: No pedal release mark , Inaccuracies in JC |
-c
time signature (two R.H. bars correspond to one L.H. bar). We number the bars after the L.H. part. After b. 21 and 25, where the endings of the bars coincide, Chopin marked this synchronisation with a vertical, dotted line, combining the bar lines on both staves. In our transcription we reproduce these lines as dashed and add them also after b. 30-31. This is the only example of polymeter in Chopin's music. An analogous difference is present also in the 1st half of 
in 
in 
