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WN 37, Lento con gran espressione

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b. 3-4

composition: WN 37, Lento con gran espressione

..

In A1 the last three chords of the introduction are written with the use of one-part notation.

category imprint: Differences between sources; Corrections & alterations

b. 3-4

composition: WN 37, Lento con gran espressione

c1 repeated in A1

c1 tied in CJ, CK (→CB) & EL
..

The missing tie of c1 is probably Chopin's oversight in A1, hence we consider it acceptable to add it in the text of A1.

category imprint: Differences between sources

issues: Errors of A

b. 7

composition: WN 37, Lento con gran espressione

c3 repeated in A1, CJ & CK (→CB)

c3 tied in EL
..

The tie of c3 must be an arbitrary decision of Kolberg or Szulc.

category imprint: Differences between sources

issues: 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
..

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. 16

composition: WN 37, Lento con gran espressione

Semibreve in A1, CJ & CK (→CB)

Tied minim & quaver in EL
..

Just like in the case of other interventions concerning the pitch/rhythm, the arbitrary change of the rhythm of this bar was most probably performed by Oskar Kolberg.

category imprint: Differences between sources

issues: Kolberg's revisions