Composers vs Engravers: Stems and Slurs part 9
Posted: 13 Aug 2017, 15:00
A random example of a change of stem direction alla Chopin. (Copyist's autograph with composers corrections of Etude op. 25 no. 5. This copyist generally followed Chopin's original slavishly.)
He disregards standard stem direction on the first beat of the left hand in measure 2 of the example because the main note in both hands is B which is elaborated through three octaves in each hand. Therefore the appropriate place to change stem direction in the left hand is on the B so that we clearly see the rise from B to B through a complete octave, as in the right hand. This was engraved correctly in the first French edition:
If he had changed direction on the D that follows and as it was engraved in the first German edition and ever since (the Mikuli is given as an example), we are tempted by the stem grouping to read a erroneous iambic motive D—G—B D—G—B in both hands. Obviously the only reason that the left hand starts on a D is because it must play the bass note G on the first beat. Otherwise it like the right hand would have started on B on the first beat.
He disregards standard stem direction on the first beat of the left hand in measure 2 of the example because the main note in both hands is B which is elaborated through three octaves in each hand. Therefore the appropriate place to change stem direction in the left hand is on the B so that we clearly see the rise from B to B through a complete octave, as in the right hand. This was engraved correctly in the first French edition:
If he had changed direction on the D that follows and as it was engraved in the first German edition and ever since (the Mikuli is given as an example), we are tempted by the stem grouping to read a erroneous iambic motive D—G—B D—G—B in both hands. Obviously the only reason that the left hand starts on a D is because it must play the bass note G on the first beat. Otherwise it like the right hand would have started on B on the first beat.