Pitch
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b. 8
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composition: WN 37, Lento con gran espressione
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The concordant text of A1 and CJ leaves no doubts that it was also [A2] that featured f category imprint: Differences between sources issues: Terzverschreibung error , Kolberg's revisions |
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b. 11
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composition: WN 37, Lento con gran espressione
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Separating the tenor voice must have been an arbitrary decision introduced in EL. According to us, it is likely that the author thereof was Kolberg, who added similar short motifs in the middle section of the Lento (b. 35-36 and 39-40). category imprint: Differences between sources issues: Kolberg's revisions , Revisions in EL |
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b. 15
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composition: WN 37, Lento con gran espressione
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In A1 one can see a correction of the last semiquaver in the 1st half of the bar, which was initially written as c category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Enharmonic corrections |
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b. 16
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composition: WN 37, Lento con gran espressione
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In A1 one can see a correction of the 2nd accompaniment figure in this bar. Initially, Chopin simply moved the hand an octave lower: category imprint: Corrections & alterations; Source & stylistic information issues: Deletions in A , Corrections of AI |
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b. 18
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composition: WN 37, Lento con gran espressione
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In the main text we preserve the characteristic, "naive" Chopinesque orthography. In CB it was corrected in accordance with the rules, which Chopin did not always obey, particularly in working autographs or drafts (cf., e.g. the Etude in C category imprint: Differences between sources issues: Balakirev's revisions |
in 
3. Chopin then crossed out the 
and enlarged the notehead so that it reaches the line above and looks like d3. The original version is preserved in 
.
