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b. 9-10

composition: WN 37, Lento con gran espressione

Slur in CJ

Slurs in CK, literal reading

Slur in CB, contextual interpretation of slurs in CJ & CK

..

We interpret the slurs of CK as an attempt to combine the unnecessarily separated slurs. According to us, the beginnings of the slurs of CJ and CK are probably inaccurate, even if they are not that far from the notation of [A2]. We consider the slur of CB to be the accurate interpretation thereof and thus suggest it in the main text. The absence of the slurs in A1 and EL – see b. 5-7.

category imprint: Differences between sources; Editorial revisions

issues: Balakirev's revisions , Inaccuracies in CK

b. 11

composition: WN 37, Lento con gran espressione

One-part notation in A1, CJ, CK & CB

Two-part notation in EL

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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

b. 13-14

composition: WN 37, Lento con gran espressione

4 extra crotchets in A1, literal reading

No crotchets in CJ, CK (→CB) & EL

3 crotchets, our variant suggestion

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Additional crotchet stems on the second quavers of three subsequent L.H. figures are featured in A1 only. They separate the middle voice, the echo of the R.H. minims. Therefore, one can ponder whether a literal interpretation of the abridged notation of the 2nd half of b. 14, where four crotchets of this derivative voice correspond to three minims of the melody, is the correct approach in this case – the abridgment could have concerned the quavers only. In the case of such abridgments, Chopin did not always mean a literal interpretation – cf., e.g. the Etude in A Major, Op. 25 No. 1, b. 19 and 41-43. We consider the literal explanation of the abridgment to be the text of A1, whereas in the main text – in a variant form – we suggest the version with three crotchets.  

category imprint: Interpretations within context; Differences between sources; Editorial revisions

b. 13

composition: WN 37, Lento con gran espressione

4 notes in A1, CK (→CB) & EL

3 notes in CJ

..

The arguments for adopting the version of CJ as the principal one are as follows:

  • the very "Chopinesque" differentiation between three analogous b. 5, 13 and 46 – the ending of the trill consists in them of 2, 3 and 4 notes, respectively (cf. the reverse change, i.e. addition of a note in the ending of the run in b. 52);
  • a possibility of Kolberg's revision in CK – the g2 note could have been added later, which is indicated by the spaces between the notes (cf. the notation of b. 46 in this manuscript).

The version of the remaining sources can be considered an equal variant, particularly since it cannot be ruled out that in spite of the awkward layout, it was Kolberg that faithfully copied [A2] and Ludwika that committed a mistake.
In CB the grace notes are written as small semiquavers.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Errors of JC , Kolberg's revisions , Balakirev's revisions

b. 13-14

composition: WN 37, Lento con gran espressione

No slurs in A1, CK & EL

Slur in bar 14 in CJ

Slur from bar 13 in CB

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In the main text we give a slur in the 2nd half of b. 14, written in CJ. The absence of this slur in CK and EL probably results from Kolberg's oversight. It is likely that upon seeing the text of CK devoid of slurs, Balakirev decided to repeat in CB the slur from analogous b. 5-6.

category imprint: Differences between sources

issues: Balakirev's revisions , Errors in CK