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WN 37, Lento con gran espressione

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Rhythm

b. 46

composition: WN 37, Lento con gran espressione

Crotchet & semiquavers in A1

Minim & grace notes in CJ, CK (→CB) & EL
..

In the main text we give the version of the later autograph, conveyed by CJ and CK and the remaining, derivative sources.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 48

composition: WN 37, Lento con gran espressione

6+5 notes in A1 & EL

5+6 notes in CJ & CK

6+5 notes in CB
..

In A1 Chopin repeated here the rhythm of analogous b. 15. It must be the initial version, which is additionally proven by the chromatic orthography, left unchanged (c3 instead of d3 – cf. the note to b. 15). According to Chopin's intention, the rhythmic variation of the version of [A2] (→CJ,CK) was most probably related to a subtle differentiation of the character of this figure, which seems to be more of a declamatory nature at the beginning of the discussed bar. It is puzzling how the initial rhythm ended up in CB and EL, since neither Balakirev nor Kolberg nor Szulc had access to A1. According to us, in both sources an arbitrary change was performed on the basis of comparison with b. 15, in which the rhythm creates a smooth, natural accelerando of the descending sequence. In EL the change was introduced only just in print, which is proven by the notes having been arranged according to the rhythm of CJ and CK.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Main-line changes , Balakirev's revisions , Revisions in EL

b. 52

composition: WN 37, Lento con gran espressione

5+5 semiquavers in A1

3+2+6 semiquavers in CJ & CK

2+3+3+3 semiquavers in CB

5+6 semiquavers in EL
..

In the 1st half of the bar the sextuplet is not marked in A1, neither with a digit nor a slur; however, nothing indicates that Chopin could have meant another rhythm. These elements are also absent in CK, which is almost certainly an oversight of the copyist, whose attention was taken by the need to correct the erroneously written first 5 notes of this sextuplet. In turn, it is uncertain how the oversight of all slurs in EL occurred – see b. 5-6.
Kolberg also overlooked the markings in the 2nd half of the bar, confirmed by CJ – staccato dots and the slur over the last beat of the bar. It could have influenced the creation of an arbitrary rhythm and slurring of CB – clearly incomplete slurring of CK and division of the 3rd beat of the bar, musically unjustified without authentic articulation, suggested a possibility of mistakes and inaccuracies in this copy.
The most significant difference appears at the end of this bar – in A1 the 4th beat includes only 5 notes, since there is no e3  between d3 and f3. In the main text we give the later 6-note version on the basis of the most accurate and almost certainly authentic notation of CJ.

category imprint: Differences between sources; Corrections & alterations

issues: Balakirev's revisions , Inaccuracies in CK

b. 56

composition: WN 37, Lento con gran espressione

Unslashed grace note in A1 & CB

Slashed grace note in CJ, CK & EL
..

In #A one can see that Chopin initially provided the trilled note with the value of a double dotted minim, whereas the c2 note ending the trill – with the one of a quaver. It was still in A1 that he changed it to a semibreve and a non-slashed grace note. Therefore, the notation of [A2] featuring a slashed grace note, confirmed by CJ and CK, may be considered the last stage of the process of delaying the moment of playing the final c2 note. However, the difference in the notation of the grace note does not have to be meaningful, since in the Chopinesque notation both versions can be equal.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Deletions in A , Corrections of AI

b. 57-60

composition: WN 37, Lento con gran espressione

Semiquavers & quavers in A1, CJ & CK

Quavers in CB

Semiquavers in EL
..

In the main text we give the beams of the four runs after the concordant notation of A1 and [A2] (→CJ,CK) – semiquavers in b. 57-58 and quavers in b. 59-60. In the remaining sources the notation was arbitrarily standardised – CB features quavers only, whereas EL – semiquavers.

category imprint: Differences between sources

issues: Balakirev's revisions , Revisions in EL