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WN 37, Lento con gran espressione

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b. 1

composition: WN 37, Lento con gran espressione

 in A1

 in CJ, CK (→CB) & EL
..

The  time signature present in A1 seems to be more accurate for the melody written with minims and the quaver accompaniment. However, later in the piece, with numerous changes of time signature, it always returns as . Therefore, it seems that Chopin eventually opted for , which is confirmed by the copies based on [A2] – CJ and CK, in which this time signature was present from the beginning of the piece.

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category imprint: Differences between sources; Corrections & alterations

issues: 4/4 or 2/2

b. 1-3

composition: WN 37, Lento con gran espressione

c in A1

C in CJ, CK (→CB) & EL
..

The version of the later sources must be a Chopinesque improvement – it is common to encounter bass notes having been lowered by an octave (or an added bottom octave) throughout the work on a piece in his output, e.g. in the Mazurka in C Minor, Op. 50 No. 3, b. 77, 79 and analog. or in the Etude in A Major, Op. 25 No. 1, b. 1. 

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category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 1-4

composition: WN 37, Lento con gran espressione

Repeated e1 in A1, CJ & CK

d1 in CB

Tied e1 in EL
..

The version of CB featuring d1 as the middle note of the first chord in b. 2 and 4 probably results from the fact that the note was placed too low in CK. In turn, the version of EL with tied e1 is probably an arbitrary change, introduced by Kolberg in the Stichvorlage for this edition.

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category imprint: Differences between sources

issues: Balakirev's revisions , Revisions in EL

b. 5

composition: WN 37, Lento con gran espressione

..

In A1 one can see that the 6th quaver was initially an f, like in b. 13 and 46.

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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Accompaniment changes

b. 6-19

composition: WN 37, Lento con gran espressione

No slurs in A1, CJ, CK & EL

L.H. slurs in CB
..

In CB the half-bar L.H. quaver figures are provided with slurs in the whole piece except for b. 16, 20 and 63, in which the slurs encompass entire bars. It is one of a few serious revisions performed by Balakirev, in this case musically justified but not necessary and contrary to the Chopinesque practices – cf., e.g. the authentic L.H. slurring in the Nocturne in D Major, Op. 27 No. 2. Due to the fact that the slurs are also present in other sources, we discuss b. 7, 17 and 20 separately.  

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category imprint: Differences between sources