Rhythm
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b. 32
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composition: WN 37, Lento con gran espressione
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When interpreted literally, the rhythm written down in CJ suggests a very unnatural combination of four crotchets in the R.H. and five in the L.H. Taking into account the inaccurate alignment between the L.H. and the R.H. (cf., e.g. 2 previous bars), in the 2nd half of the bar we get two crotchets in the R.H. against three in the L.H. While such polymeter is present in an earlier version of A1 (in the previous bars), in [A2] Chopin replaced it with simpler, regular rhythmic divisions. Such a change in the opposite direction, not marked in any way, is inconceivable here, hence we consider this notation to be Ludwika's mistake. category imprint: Interpretations within context; Differences between sources issues: Errors of JC , Inaccuracies in JC |
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b. 35-43
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composition: WN 37, Lento con gran espressione
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These 9 bars were written by Chopin on the bottom stave only both in A1 and [A2] (→CJ); CB also applied such notation. At the same time, all sources – including CK and EL, in which a few/several dozen notes and rests were added on the top stave – convey the general idea of division into hands expressed through the direction of the stems and arrangement of the rests. In turn, as far as the details are concerned, there are many differences between them, which, however, are of no practical meaning; some of them are simply mistakes or simplifications related to the notation of repeated figures. Due to this reason, we do not discuss them in detail, leaving a possible analysis to the reader. The version suggested in the main text is based on CJ; we only complement the notation of b. 37-38, in which some of the L.H. rests were overlooked. category imprint: Differences between sources issues: Inaccuracies in JC , Kolberg's revisions |
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b. 44
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composition: WN 37, Lento con gran espressione
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category imprint: Differences between sources |
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b. 44
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composition: WN 37, Lento con gran espressione
..
The rhythmic notation of A1 gives rise to doubts in this bar, since in spite of the change of time signature to The rhythm of the sources coming from [A2] is generally unambiguous; although it is only in CB that the notation can be considered correct, minor inaccuracies in the remaining sources do not hamper its interpretation. In the main text we give the text of CJ, completed with a rest for the R.H. part, without which the notation could be misleading. 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 |
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b. 45
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composition: WN 37, Lento con gran espressione category imprint: Differences between sources issues: Errors of JC |
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