EE1
Main text
As - Autograph sketch
A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1(
FED - Dubois copy
FEJ - Jędrzejewicz 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. 5-20

4 unslashed grace notes in As, A (→FEEE) & CGS

4 slashed grace notes in FC (→GE)

Different grace notes in FES

In the main text we give the grace notes in b. 5, 10, 17 and 20 in the form of non-slashed grace notes, in accordance with the notation of A (→FEEE). However, in this context, it does not mean a performance that would be radically different from a common, slashed grace note, which is indicated by:

  • the correction of rhythm in b. 10 visible in As, in which Chopin replaced the initially written 2 semiquavers with a grace note and a quaver;
  • the grace notes in b. 17 and 20 in FES having been slashed, probably by Chopin, most probably in order to correct the wrong, too lengthy performance;
  • the notation of grace notes by Chopin, not always precise; he would sometimes use them interchangeably, not being concerned about a possible difference between the performance of slashed and non-slashed grace notes (cf., e.g. the Polonaise in C Minor, Op. 26 No. 1, b. 11 and 36).

According to us, taking into account the tempo and character of the music and all the above factors, one can recommend the following rhythmic solution of this detail: .

Compare the passage in the sources »

category imprint: Differences between sources

issues: Notation of grace notes, Fontana's revisions

notation: Ornaments

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