mUltimate Chopin

WN 37, Lento con gran espressione

Text Compare Notes Sources Description

Issues : Main-line changes

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. 44

composition: WN 37, Lento con gran espressione

Crotchet, 2 quavers & triplets in A1

Triplets in CJ, contextual interpretation

Triplets in CK

Triplets in CB

Triplets in EL
..

The rhythmic notation of A1 gives rise to doubts in this bar, since in spite of the change of time signature to , the bar contains 5 crotchets. Initially, Chopin most probably envisioned triplet movement, like in the version of [A2] (→CJ,CK), yet he eventually changed the first note from a quaver to a crotchet and added rests. Therefore, we adopt this notation, imprecise, yet suggestive, as the text of this autograph.

The rhythm of the sources coming from [A2] is generally unambiguous; although it is only in CB that the notation can be considered correct, minor inaccuracies in the remaining sources do not hamper its interpretation. In the main text we give the text of CJ, completed with a rest for the R.H. part, without which the notation could be misleading.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Errors resulting from corrections , Deletions in A , Main-line changes

b. 46

composition: WN 37, Lento con gran espressione

Crotchet & semiquavers in A1

Minim & grace notes in CJ, CK (→CB) & EL
..

In the main text we give the version of the later autograph, conveyed by CJ and CK and the remaining, derivative sources.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

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. 52

composition: WN 37, Lento con gran espressione

..

In the initial version of A1 the last semiquaver group includes one note less than the version of the remaining sources coming from [A2]. Chopin initially omitted the target note of the run, e3; however, eventually he opted for a more homogeneous sequence consisting of seconds only. See the note on rhythm at the beginning of the bar.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes