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b. 47
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composition: WN 37, Lento con gran espressione
..
In the main text we include this slur, present only in A1, in a variant form. category imprint: Differences between sources; Editorial revisions |
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b. 48-50
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composition: WN 37, Lento con gran espressione
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Just like in b. 6-17, in A1, CJ and CK the repeated accompaniment figures are written in an abridged manner. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 48
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composition: WN 37, Lento con gran espressione
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The last note of the 1st semiquaver triplet is written in A1 as c In the remaining sources the notation is enharmonically homogeneous, yet also inaccurate – none of the sources includes the category imprint: Differences between sources; Corrections & alterations issues: Omitted correction of an analogous place , Inaccuracies in JC |
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b. 48
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composition: WN 37, Lento con gran espressione
..
In the main text we include this slur, present only in A1, in a variant form. category imprint: Differences between sources; Editorial revisions |
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b. 48
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composition: WN 37, Lento con gran espressione
..
In A1 category imprint: Graphic ambiguousness; Differences between sources |
3. This puzzling notation – later in the sequence, a respective note an octave lower is already written as d2 (without the necessary 
, which is a typical Chopinesque inaccuracy) – was initially also in b. 15, in which it was, however, changed by Chopin. Since all the sources coming from [A2] feature d3, we consider the presence of c
3 to d3 that is missing, whereas in 
before this note.
in 
in 
in b. 57 (except for a few R.H. slurs in b. 52-54). It cannot be ruled out that it could have been influenced by the layout – b. 49-56 fill one line of 
. A very characteristic horizontal line, common for both letters (cf., e.g. four 
Minor, Op. 31) is an argument in favour of