EE1
Main text
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewiczowa's Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 18-26

Quintuplets in A (→FCGE1, →FEEE)

Triplets in GE2 (→GE3)

The authentic rhythm in b. 18-20, 23 and 25-26 – featuring quintuplets in the R.H. part – may be regarded as an example of a written-out rubato: a performance ploy admired in the play of Chopin himself, but often considered impossible to reproduce correctly. Therefore, the publisher of GE2 could have coordinated the rhythm in these bars with the remaining ones to avoid an excessive rhythmic complication already in the first piece of the cycle, fearing scaring off potential customers. The deletions of semiquaver rests visible in A in b. 18-20 show that Chopin most probably introduced the rhythmic variations in these bars – and perhaps also in the next ones – only just at the stage of writing A, hence at the last stage of working out the details of the composition.

Compare the passage in the sources »

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

issues: Corrections in A, GE revisions, Deletions in A

notation: Rhythm

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