Rhythm
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b. 3-4
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composition: WN 37, Lento con gran espressione
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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 |
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b. 3-4
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composition: WN 37, Lento con gran espressione
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The missing tie of c category imprint: Differences between sources issues: Errors of A |
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b. 7
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composition: WN 37, Lento con gran espressione
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The tie of c category imprint: Differences between sources issues: Revisions in EL |
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b. 13-14
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composition: WN 37, Lento con gran espressione
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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 category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 16
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composition: WN 37, Lento con gran espressione
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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 |
1 repeated in 
Major, Op. 25 No. 1, b. 19 and 
