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WN 37, Lento con gran espressione

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Issues : Revisions in EL

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. 56

composition: WN 37, Lento con gran espressione

No signs in A1

  in CJ & CB

 & accent in CK

 in EL
..

We consider the accent under the grace note in CK to be an inaccurately written  hairpin. This is how the mark was interpreted by Balakirev in CB. The mark, musically unjustified, was omitted in EL.

category imprint: Differences between sources

issues: Balakirev's revisions , Inaccuracies in CK , Revisions in EL

b. 56

composition: WN 37, Lento con gran espressione

f in A1, CJ & CK (→CB)

g in EL
..

The version of EL is probably Kolberg's revision. However, one cannot rule out a mistake (e.g. of the engraver) due to the resemblance of the accompaniment in b. 55-56 and 51-52. 

category imprint: Differences between sources

issues: Revisions in EL

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

b. 57

composition: WN 37, Lento con gran espressione

..

A1 contains only . In [A2] (→CJ,CK) Chopin marked this figure analogously to the next bars –  . The particular sources differ in the range of these marks – see the previous note.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , Balakirev's revisions , Revisions in EL