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PERFORMANCE COMMENTARY

2 2
Notes on the musical text The first notes of the R.H., g in bar 62 and a in bar 78, should
1
be struck simultaneously to the top note of the L.H. arpeggio, g .
The v a r i a n t s marked ossia were indicated as such by Chopin him- The other arpeggios of the L.H. should also be executed in an
1
self, or added in his handwriting to pupils’ copies; the variants without anticipated manner, with their top note, f , falling on the first note
2 2
this designation are the result of discrepancies in the authentic sources of the successive trills in the R.H., b and b .
or the impossibility of arriving at an unambiguous reading of the text. p. 15
Minor authentic alternatives (individual notes, ornaments, slurs, accents, Bar 81 R.H. Alternative fingering:
8
pedal markings, etc.), that can be considered variants, are enclosed R.H.
in parentheses. Editorial additions are enclosed in brackets.
Pianists not interested in source-related questions, who wish to base
their performance on a single text without variants, are advised to use L.H.
the music printed on the principle staves, including all the markings in p. 17
parentheses or brackets. Bars 117-118 The execution of these two bars on a single pedal,
Chopin’s original f i n g e r i n g is indicated in large bold-type numerals as prescribed by Chopin, may sound too dense on modern pianos
( 1 2 3 4 5 ), in contrast to the editors’ fingering, written in smaller italic with the pedal pressed down fully. In order to obtain the effect of
numerals ( 1 2 3 4 5 ). Original fingering enclosed in parentheses indic- the gentle blending of harmonic functions intended by the com-
ates fingering not present in the primary sources, but added by Chopin poser, the editors recommend the use of a ‘half-pedal’ (light
to his pupils’ copies. pressing down of the pedal so as to muffle the shorter and more
A general discussion of the interpretation of Chopin's works will be lightly struck strings, and to preserve the sound of the bass
contained in a separate volume, Introduction to the National Edition, in ground and of the accented notes in the treble).
the section entitled Problems of Performance.

Abbreviations: R.H. – right hand, L.H. – left hand.

Impromptu in F sharp major, Op. 36

p. 18
Bars 1, 2 and similar. L.H. Should a performer’s limited L.H. span
Impromptu in A flat major, Op. 29 require the use of an arpeggio in executing the ninth, it would be
p. 11 better to play the upper note with the R.H., so that the notes still
Bar 1 and similar. R.H. Beginning the mordent simultaneously sound together.
with the first note of the L.H. should be deemed more correct
than anticipated execution (the third note of the mordent together Bars 29-30 On modern pianos, applying Chopin’s pedalling to
with the bass note). In any case, most important is the singing preserve the beautiful harmonic background for the subsequent
and rhythmically smooth leading of the melody line created by
phrase creates the risk of an overly intense resonance of the
the accented principal note of the mordent and the further qua- 1 1 1
clash b -a -g . This can be avoided by means of the following
vers of the R.H.
device:
The legato probably applies also to the L.H., and may refer to
‘harmonic legato’ (the fingers sustain components of the harmony):

In opting for this type of execution, one must ensure that the held
notes, supplementing, as it were, the pedalling, do not burden
the accompaniment. p. 19
Bars 41, 49 and 53 R.H. The variants in these bars should be
p. 13 treated integrally, since the sources indicate two somewhat di-
Bar 41 R.H. In the editors’ opinion, the most adroit rhythmic re-
3 vergent pianistic conceptions of these places (cf. Source Com-
solution of the appoggiatura is as follows: . mentary):
2 1) 2)
In this context (within the slur) the dot above the d may indicate
a momentary suspension of the legato articulation, the continuity
of the longer phrase idea being maintained.
bars 41-42
Bar 45 R.H. A sense of calm and ease is imparted by a realisa-
tion of the group of small notes similar to the following:
bars 49-50

bars 53-54
p. 14
Bars 62-63 and 78-79 The beginning of the trills preceded by
grace notes in bars 62 and 78: In the former, the greater quantity of struck (repeated) notes
impels one to a firmer articulation; in the latter, the holding or
skipping of notes allows for a more precise legato in the upper
bar 62 , bar 78 .
part and a calmer hand position.

3
Performance Commentary

p. 21
Bars 47-57 The convergence of the parts of the two hands in Bars 75-78 R.H. Woven into the triplet figuration is the continua-
bars 48-49 and 52-53 affords the possibility of the first finger of tion of the theme begun in bar 73. In Chopin’s notation, some of
the R.H. taking over some of the upper notes of the L.H. octaves, the hidden thematic notes are indicated with additional stems,
which facilitates the L.H. leaps. This combination can also be the value of a minim, or placement on the upper staff. The
applied in the remaining bars of this section. method of combining these elements in a cohesive phrase and
p. 20 its presentation to the listener – through the delicate emphasis-
Bar 57 In the second half of the bar, attention should be brought ing of appropriate notes – is left to the artistic taste and pianistic
to the smooth rhythm and sound of the R.H. quintuplet, fitting to abilities of the performer.
this the rhythm of the L.H. The synchronisation of the two hands
can be considerably facilitated by striking the third of the five p. 22
Bars 82-93 The signs and appearing in bars 82 and 88
R.H. octaves simultaneously with the second (semiquaver) oc- should be read more as indicating a differentiation in expression
tave of the L.H.: rather than merely in dynamics (for there is leggiero in force).
5
Other dynamic markings also should not be too greatly empha-
sised (they occur in some of the sources only, cf. Source Com-
mentary).

The lapse of time theoretically occurring between these two Impromptu in G flat major, Op. 51
strokes is so short that in practice the specified execution is in-
distinguishable from a strict rhythmic realisation. p. 30 3
Bars 49-69 L.H. = . Cf. Source Commentary.
1
Bar 58 Vertical lines added to the notes d in the pupils’ copies p. 31
most probably indicate that these notes, or possibly the whole Bars 74-75 The ritenuto does not suggest a precise fragment of
1
octaves d-d , should be played with the R.H. It is also possible to deceleration. If needs be, the return to tempo, unquestionable at
extend the notes played by the R.H. to the value of a crotchet. the beginning of bar 76, can be subtly anticipated in the second
half of bar 75.
Bars 59-60 It is not clear from the sources (cf. Source Comment-
p. 33
ary) how Chopin imagined the return to the main tempo, which is Bar 105 The arpeggios should be executed in a continuous
unquestionable at the beginning of bar 61. The editors suggest manner (g in the R.H. after d in the L.H.).
the following execution: after slowing down in bar 58, bar 59
should be commenced somewhat below the basic tempo, and the
music subsequently animated so as to return to the proper (ini- Jan Ekier
tial) tempo at the beginning of bar 61. Paweł Kamiński

4
SOURCE COMMENTARY (ABRIDGED)

Initial remarks T h e r e l a t i o n s h i p s a n d c h r o n o l o g y o f t h e s o u r c e s are not

clear in the case of this Impromptu. Each of the original editions is
The present commentary sets out in abridged form the principles be- most probably based on a different manuscript, yet it is difficult to say
hind the editing of the musical text of each particular work and dis- whether FE and EE were based on copies of A or – as a range of evid-
cusses the more important discrepancies between authentic sources; in ence suggests – on an earlier autograph and its copy (now lost). What-
addition, it signals the most common departures from the authentic text ever the case may be, Chopin probably carried out final adjustments to
encountered in the collected editions of Chopin’s works prepared after all three already completed manuscripts. Meanwhile, there is no clear
the composer’s death. A precise characterisation of the sources, their evidence of his contribution to the proofreading of editions, although
relations to one another, the justification of the choice of basic sources, this is not impossible, particularly in the case of FE and GE.
a detailed presentation of the differences appearing between them, and
also reproductions of characteristic fragments of the different sources Editorial principles
are all contained in a separately published Source Commentary. We adopt A as the basic source, compared with FE and EE. We take
into account Chopin’s additions to the pupils’ copies. The relatively
Abbreviations: R.H. – right hand; L.H. – left hand. The sign → indicates a rela- numerous – especially in A and FE – omissions of accidentals are
tionship between sources, and should be read as ‘and the source based thereon’. amended without comment.
All three pupils’ copies contain abundant C h o p i n f i n g e r i n g. For
practical reasons, figures indicated by the composer in the recapitula-
tion only (in bars 83-114) are shifted in the present edition to corres-
Note to the second edition ponding bars in the first section.
In working on the present edition of the Impromptus, use was made of p. 11
Bar 1 FE and GE have the time signature . This is most prob-
several sources not taken into consideration during the preparation of ably an inaccuracy encountered on many occasions in Chopin
the first edition (PWM, Cracow 1983), which enabled the editors to be
works published by these companies (cf. e.g. commentary to
more precise with regard to the solutions put forward and more scru-
the Etude in C Op. 10 No. 1, bar 1).
pulous in the choice of variants.
Bars 7 and 89 R.H. Above the first note is missing in FE.
This is most probably an oversight.

Impromptu in A flat major, Op. 29 Bars 10 and 92 L.H. As the third quaver A (→GE) and FE have e 1,
whereas EE has c 1. Corrections in bar 10 of A prove that after in-
Sources itial hesitation over this note Chopin eventually decided on e 1.
A Autograph fair copy intended as the basis for the original German
edition (Fryderyk Chopin Museum, Warsaw). More than ten acci- Bar 11 R.H. In GE2 the second and third quavers were changed
dentals added in pencil are most probably the work of the en- arbitrarily to d 2 and e 2. The correct version was restored in GE4.
graver of this edition. The notation of A displays numerous omis- Cf. note to bar 93.
sions of accidentals, and in the final section of the work (from p. 12
bar 83) also a range of other inaccuracies (cf. notes to bars 83- Bars 21 and 103 R.H. Missing above the first note in FE is .
90, 87-94, 93 and 121). In bar 21 Chopin corrected this error in FES and FEJ.
GE1 Original German edition, Breitkopf & Härtel (5850), Leipzig, Novem-
ber 1837, based on A. In GE1 most of the missing accidentals were Bars 22-24 and 104-106 L.H. In FE there are no accents (apart
added, and those erroneously added in A amended. Chopin may from the accent on the c in bar 105). This is most probably an
have contributed to these corrections. There are copies of GE1 oversight by the engraver or copyist.
differing in price or in the graphic layout of the cover (three types).
GE2 Second German edition (same publisher and plate number), Bar 24 Added at the beginning of the bar in FED (most probably
c. 1853. The accidentals are amended here, and several arbit- by the hand of the pupil) is the marking rit.
rary changes are made (the most important in bar 11). p. 13
GE3 Second, revised impression of GE2, c. 1866. Bar 38 L.H. As the third crotchet FE erroneously has the chord
GE4 Third impression of GE2, with an altered version of bars 11 g-b -d 1-f 1, which Chopin corrected in all the pupils’ copies.
and 93. There are copies of GE4 differing in the cover price.
GE = GE1, GE2, GE3 and GE4. Bar 40 L.H. At the beginning of the bar some later collected
FE Original French edition, M. Schlésinger (M.S. 1499), Paris, Octo- editions arbitrarily added a c 1 to the sixth g-e 1.
ber 1837. FE is based on a lost manuscript (autograph or copy) R.H. In A Chopin changed the slurring in this bar. It would ap-
and may have been corrected by Chopin. pear more likely that the continuous slur initially written was sub-
FED, FES, FEJ – pupils’ copies of FE with Chopin’s additions of fin- sequently divided; in the present edition such slurs are repro-
gering and corrections of printing errors: duced in the main text (such is also the case in EE). It is possi-
FED – copy from the collection belonging to Chopin’s pupil Camille ble, however, that in A Chopin joined the slurs (FE has a con-
Dubois (Bibliothèque Nationale, Paris); also contains a variant tinuous slur). In GE a new slur begins from the first note of this
and several performance markings. bar (a misreading of A).
FES – copy from the collection belonging to Chopin’s pupil Jane
Stirling (Bibliothèque Nationale, Paris). Bar 41 R.H. The dot above the d 2
is found only in A (→GE).
FEJ – copy from the collection belonging to Chopin’s sister Lud- Cf. Performance Commentary.
wika Jędrzejewiczowa (Fryderyk Chopin Museum, Warsaw).
EE1 First English edition, Wessel & C o (W & C o 2166), London, Octo- Bar 48 R.H. The main text is reproduced from A. Initially, the turn
ber 1837, based on a lost manuscript (other than FE). EE bears in the second half of the bar began with the second note, a 1. Cho-
traces of editorial alterations, and was most probably not cor- pin subsequently added the small note g 1 in such a way that it
rected by Chopin. There are copies of EE1 with different covers. touches the preceding minim g 1. One may consider whether this
EE2 Later impression of EE1 (from 1848-1851), in which several indicates the convergence of the voices (in which case the note g 1
errors and inaccuracies have been amended. would not need repeating). However, such a reading is opposed by
EE = EE1 and EE2. the following arguments:

5
Source Commentary

– Chopin did not have room in A to add a note at the beginning — the lack of before the trilled minim a 2; the sign is not neces-
1
of the run and preserve sufficient distance from the minim g ; sary when the note is preceded by a grace note of the same pitch;
– the convergence of the voices could have been indicated more — the beginning of a trill from a lower second was generally
clearly and simply by adding another stem to the minim and ex- shown by Chopin by means of a double grace note (as he did in
tending the beam of the run (Chopin employed this kind of nota- bar 62);
tion very often): — given the different melodic shaping of the ending of the pre-
ceding phrase, Chopin probably deliberately differentiated be-
tween the trills in bars 62 and 78.
The reading of A adopted in the present edition appears in FE The lack of a clear correction of the pitch of the grace note in the
and GE. The version from EE given as a variant can be consid- pupils’ copies does not necessarily testify to Chopin’s accept-
2
ered an alternative correction by Chopin of the original version of ance of the version with the grace note g :
the run. A similar tracing of the melodic line can be found e.g. in — in FES is added before the minim in such a way that it may
the Nocturne in B minor Op. 9 No. 1, bars 3 and 73. also indicate the modification of the pitch of the grace note;
— FED and FEJ have no annotation here.
Bar 49 L.H. The main text comes from A (→GE), the variant
from FE. In EE a triad appears on the first crotchet, and a sixth Bar 81 L.H. In FED Chopin added 8 a beneath the chord. As an
1
on the third. The lack of c is highly likely to be due to oversight, ossia variant, we give the most probable reading of this addition,
although Chopin does appear to have accepted this version in notated in a manner Chopin employed in analogous situations,
lessons. This is clear from fingering written into two pupils’ co- e.g. in the Etude in G Op. 10 No. 5, bar 65.
pies, one of which (the second finger on a added in FEJ) pre-
cludes the use of a triad. Bars 83-90 and 103-104 A (→GE) has no pedal marks here. As
this is most probably an oversight by Chopin (cf. note to bars 87-
Bar 50 L.H. Missing before the first chord in A (→GE1), FE and 94), we give the marking of FE. It is difficult to assess whether
1 1
EE is the raising d to d . Chopin added this in all three extant the pedalling in bars 83-84 and 87-88 (longer, half-bar pedals),
pupils’ copies. In GE2 has been added arbitrarily, subse- which is somewhat divergent from that of similar bars, is an au-
quently altered to in GE3. In EE the middle note of this chord is thentic execution variant or is merely due to imprecise notation.
erroneously b . The asterisks in parentheses in bars 83-84 come from EE,
which gives pedalling only in bars 83-85 and 103-104.
Bar 59 R.H. In FEJ added above the second crotchet is the
fingering 2. We do not give it, on the assumption that it is inad- Bars 87-94 In A (→GE) the only dynamic mark is in
vertently placed one crotchet too early. bar 89. Given that both previously and subsequently the mark-
p. 14 ings appearing in A are analogous to those of the first section of
Bar 62 R.H. Added arbitrarily in the ending of the trill in most
2 2 the work, this omission is most probably of an accidental nature.
later collected editions is , raising g to g . See note to bar 78.
Thus we reproduce the markings of FE, in accordance with the
2
Bar 64 L.H. A (→GE1→GE2), FE and EE have c and a as the
1 markings appearing in all sources in bars 5-12. Similar markings
third and fourth crotchets. Chopin corrected his error in FEJ. also occur in EE, with the exception of marks omitted in bar 93.
GE3 (→GE4) also has the correct version. p. 16
Bar 93 R.H. The main text comes from FE and EE, while the ver-
Bar 71 R.H. As the penultimate note of the bar, EE has f .
1 sion given in the footnote comes from A (→GE, except GE4, which
Given that before the tenth and twelfth notes A, FE and EE1 lack uses the text of FE and EE). We give priority to the version in
2 2
the accidentals restoring the f and e , it seems likely that this keeping with the corresponding bar of the opening section of the
was added by the reviser of EE1, misled by the still in force be- Impromptu (bar 11), taking into account the following arguments:
2 2
2
fore the tenth note of the bar (f ). Meanwhile, appropriate cor- — the melody in the main version (c -d ) evolves more coher-
rections, involving the addition of the omitted signs, were made in ently and naturally – all the ascending motifs appearing in
2 2
GE1 ( f ) and GE2 ( e ), and also in EE2 (both signs), al- bars 91-95 after the crotchet interruption of the triplet movement
though this source does retain the aforementioned redundant begin with a note lower than the preceding one;
2 2
before the fourteenth note. — it is possible that the version with d -e , in which the melodic
shaping appearing two bars earlier is repeated exactly, is the ori-
p. 15
Bar 74 R.H. In A the minim stem reaches down only to the top ginal version of bars 11 and 93, corrected by Chopin in lost manu-
2 2 2
note of the chord (c ). Thus, the three remaining notes can be scripts (e.g. in the bases for FE and EE); the change to c -d
would be an audible enrichment of the melodic line;
seen as semibreves , which from a formal point of view is — there are no other significant differences between the outer-
a strict notation. However, Chopin did not always scrupulously most sections of the work (bars 1-30 and 83-112); moreover, it is
extend the stem to all the notes of the chord, thus the notation of entirely likely that in the manuscripts forming the basis for FE
and EE bars 83-112 were marked in abridged form only, as a re-
A may also be understood as . Since, providing the correct petition of bars 1-30 (cf. notes to bars 7, 10, 21 and 105-107);
pedalling is employed, the two notations give the same sound, — in writing A, Chopin notated bars 83-112 less carefully than
we adopt this second interpretation as closer to a practical exe- their corresponding bars 1-30, as is testified to, inter alia, by the
cution. In FE all the elements of the chord have the value of incomplete and inconsistent pedalling and dynamics (cf. notes to
a dotted minim, and in EE of a double-dotted minim; both nota- bars 83-90 and 87-94); thus, in the bar in question the exact
tions were probably amended without the participation of Chopin. repetition of the melodic shape of bar 91 may have been written
GE has the notation adopted by us. out inadvertently (such a momentary lapse of concentration af-
fected Chopin in bar 96, where one sees the deletion of the first
Bars 75-76 The pedalling is to be found only in EE. triplet of the L.H., inadvertently repeated after bar 95; see also
note to bar 121); this kind of slip becomes even more likely if the
2 2
Bar 77 R.H. In FE the crotchet stems are missing from d and g . 2 2
version with d -e was the original version.
2
Bar 78 R.H. The grace note a , indicating the beginning of the Bars 103 and 106 R.H. The fourth and tenth quavers of bar 103
2 2 3
trill from the principal note, comes from A (→GE) and EE. In FE (a and b ) and the eighth note of bar 106 (e ) are preceded in
2
the grace note takes the form of a small crotchet g . This is most A by naturals, most probably added by the engraver of GE.
probably an error, as is indicated by the following circumstances: These errors were later corrected in the proofs of GE1.

6
 Source Commentary

Bars 105-107 R.H. FE and EE repeat here the fingering from FESch, FES, FED – pupils’ copies of FE with additions by Chopin
bars 23-25. containing various performance markings, fingering and correc-
p. 17 tions of printing errors:
Bars 113-119 EE prescribes one pedal from the beginning of FESch – copy of FE1 from the collection belonging to Chopin’s
bar 113 to the rest after the first chord of bar 115; similarly in pupil Marie de Scherbatoff (Houghton Library, New York);
bars 117-110. This is most probably the original conception, as FES – copy of FE2 from the collection belonging to Chopin’s pupil
testified by the deletion in A of the sign at the beginning of Jane Stirling (Bibliothèque Nationale, Paris);
bar 113 (cf. note to bars 115 and 119). In FE there are only short FED – copy of FE3 from the collection belonging to Chopin’s
pedals at the beginning of bars 115 and 119. We give the pedal- pupil Camille Dubois (Bibliothèque Nationale, Paris).
ling of A (→GE), in which bars 113-114 and 117-118 are treated EE1 Original English edition, Wessel & C o (W & C o 3550), London,
differently (cf. Performance Commentary). June 1840. EE1 is probably based on a copy of FE1 with addi-
tions by Chopin and was not itself proofread by him. It bears evi-
Bars 115 and 119 L.H. On the second crotchet of the bar EE has
dence of editorial alterations.
the octave C-c. This is most probably the original version, as test-
EE2 Second impression of EE1, 1843, in which several errors were
ified by Chopin’s deletion of the octave in bar 119 in A.
amended and the original version restored at the end of bar 92
Instead of sotto voce EE has (and in bar 115 also legatissi-
and the beginning of bar 93.
mo ). These are probably earlier indications rejected by Chopin,
since in A the initially written in bar 115 was subsequently
Editorial principles
changed by Chopin to sotto voce . Cf. note to bars 113-119. FE
Adopted as the basic source is FE, as one undoubtedly corrected by Cho-
has only sotto voce in bar 115.
pin. We take account of improvements probably made by Chopin to the
bases of GE and EE, as well as his annotations to the pupils’ copies.
Bar 121 A (→GE) notes the chord as a quaver followed by
Performance markings in parentheses, unless indicated otherwise fur-
a quaver pause (as in bar 117). Such a substantial shortening of
ther in the commentary, come from GE. Minor elements appearing in GE
the value appears to be unnecessary here, hence our adoption
of the more natural notation of FE and EE. It is possible that (staccato dots, pedal marks, the prolonging of certain notes), whose
Chopin inadvertently transcribed in A the version from bar 117 absence from FE can be deemed an oversight on the part of Chopin,
(cf. note to bar 93). are given without brackets.
p. 18
Bar 1 Andantino appears in FE (→EE), Allegretto in GE.
Bars 122-124 FE has no calando , whilst EE has smorz. instead
of calando in bar 124. Cf. note to bars 113-119. FE (→EE) has the time signature instead of , which appears
in GE. It is most likely that this change was accidental, as is very
Bars 126-127 EE has the following, probably original, notation often the case in FE (e.g. in the Impromptu in A Op. 29; cf. also
(see note to bars 113-119 and to bars 115 and 119): commentary to the Etude in C Op. 10 No. 1, bar 1).

Bar 14 L.H. The prolongation of the third crotchet is indicated in

GE only.
R.H. Added arbitrarily before the final note in EE is . See note
to bar 68.

The articulation marks for the L.H. are probably editorial addi- Bar 26 L.H. On the second crotchet, GE has only the upper
tions; similar supplements of markings – with different rhythmic note, e 1 (probably an oversight).
values – were also effected in GE.
Bars 28-29 L.H. The slurring given in the footnote is from GE.
p. 19
Bar 30 L.H. In the last chord, FE1 (→FE2) has g 1 instead of e 1.
Chopin corrected this error in FESch and FES. The correct text
Impromptu in F sharp major, Op. 36 is also printed in FE3, EE and GE.

Sources Bars 31, 35, 102 and 106 Instead of semiquaver pauses GE has
AI Fragment (bars 30-38 and from bar 70 to the end) of a working dots extending the value of the first chord, and the slurs over
autograph, partially sketched (two pages in the Chopin Society in these phrases are not broken. AI has a similar rhythmic notation.
Warsaw, two in the Cracow National Museum). Bars 82-100 were
initially written in double rhythmic values, which Chopin already Bars 32, 36, 103 and 107 L.H. As the top note of the first chord
changed in AI. In quite numerous instances of discrepancies be- GE has a 1 in bars 32 and 103 and a in bar 36 (in bar 107 GE
tween original editions, AI allows one to identify the earlier (orig- has b, as in the remaining sources). Given that this version is al-
inal) versions. so found in AI, it is undoubtedly an original version, and was
GE1 Original German edition, Breitkopf & Härtel (6333), Leipzig, May probably changed by Chopin in the manuscript bases for FE
1840, based on a lost (probably autograph) manuscript. Chopin (→EE). Those later collected editions that give the version with
most probably did not proofread GE1. There are copies of GE1 a 1 and a also arbitrarily altered a to b in bar 107.
differing in cover price. R.H. Missing before the fifth quaver in FE1 (→FE2) is . In FES,
GE2 Second impression of GE1, after 1860, in which some of the errors Chopin added the signs in bars 103 and 107. FE3, EE and GE
were amended and a few changes made arbitrarily. have the correct text.
GE = GE1 and GE2.
FE1 Original French edition, E. Troupenas et C ie (T. 892), Paris, May Bars 37-38 and 108-109 The main text is taken from FE (→EE),
1840, based on another lost manuscript (probably also an auto- the variant from GE. AI preserves the original form of these bars:
graph). Chopin may possibly have proofread FE1.
FE2 Second impression of FE1, corrected by Chopin.
FE3 Third impression of FE1, corrected most probably with Chopin’s
bars 37-38
participation. This impression was reprinted after Chopin’s
death by the publishers Brandus et C ie , with the latter’s plate
number (B. et C ie 6477) added.
FE = FE1, FE2 and FE3. 8

7
Source Commentary

p. 21
Bars 67-68 The pedal marks were added by Chopin in FES.
bars 108-109 Bar 68 EE has before the fifth note in the L.H. and the final
note in the R.H. These markings were undoubtedly added by the
reviser of this edition, guided by a conventional sense of har-
Chopin would have subsequently improved these bars in various mony. Cf. note to bar 14.
ways in the manuscript bases for FE and GE, although given the
present state of sources it is not possible to determine whether Bar 72 R.H. The main text is reproduced from FE (→EE), the
he considered one of the printed versions as definitive. variant from GE. AI has a different rhythm to the melody

throughout the bar: .

Bar 39 The sostenuto comes from FE (→EE), and was writ-
ten by Chopin in FED. In GE, the D major section begins , yet
probably already in the basis for FE Chopin changed the dy- Bar 74 R.H. Chopin wavered and changed the version of the last
namic conception (see note to bars 47 and 51), which is con- crochet of this bar several times:
2 2 1
firmed by , added later in FED. — AI initially had a version with the triplet e -d -b , in which
1 2
L.H. As a grace note GE erroneously has C 1 . Chopin subsequently changed the last note from b to c ;
— in GE, Chopin returned to the original version;
2 1
Bars 39-46 GE does not have the slurs in the L.H. part. — FE1 (→EE) has a version similar to bar 20 (d -b quavers);
2
— in FE2 (→FE3), Chopin added the grace note e .
Bar 41 R.H. On the fourth crotchet of the bar, only FE (→EE) In the main text, we give the latest version, i.e. FE2, while the
1
has a . See Performance Commentary to bars 41, 49 and 53. musically equiponderant original version, accepted for print by
Chopin in GE, is given as a variant.
Bar 45 R.H. On the fourth crotchet of the bar the raising g to
g was undoubtedly omitted inadvertently by Chopin. It was not Bars 75-81 R.H. The additional crotchet stems appearing in
added until GE2 (after the composer’s death). bars 75, 78-79 and 81, as well as the head and stem of the
minim in bar 76, appear solely in GE.
1 1
Bar 46 R.H. In GE the minim b is tied to b on the fourth
crotchet of the bar. This tie was probably removed by Chopin Bars 77-81 Some of the pedal marks appearing in FE (→EE)
1
while proofreading FE (→EE). The repetition of b seems more and GE) are complementary, whilst others can be deemed alter-
1
natural: it corresponds to the repetition of e in bar 45 and fits natives for one another. We give them all, as the markings in
the crescendo. particular sources are incomplete and inconsistent .
1 2 2
Bar 47 and 51 In GE occurs already in bar 47, while in EE it Bar 80 R.H. In GE1 the second triplet sounds a -d -f . This is
1
is missing altogether. the original version (appearing in AI), changed by Chopin to a -
1 2
b -d most probably in the manuscript basis for FE (→EE). This
Bar 48 The sign in this bar appears in FE (→EE). It may be altered version was also employed in GE2.
argued whether it was not erroneously added by the engraver of p. 22 1
Bar 82 L.H. The accent above c was added by Chopin in FED.
FE, confused by the graphical similarities between bars 48 and 49.
Bars 82-93 Apart from the leggiero, which appears in all the ori-
Bar 49 R.H. In the second half of the bar, only GE has the tie
1 ginal editions, GE has no other dynamic markings in these bars.
sustaining a . See Performance Commentary to bars 41, 49 and 53.
They were most probably added by Chopin in the final stage of
Bar 50 L.H. In GE, the sixth octave is the same as the fourth and preparing the base text for FE. Cf. Performance Commentary.
eighth, i.e. A 1 -A. This is possibly an error.
Bars 82-100 R.H. In GE these bars are covered by a single slur.
p. 20
Bar 53 R.H. The main text comes from FE (→EE), the version
Bars 83 and 89 R.H. The version given in the variant comes
given in the footnote from GE. See Performance Commentary to
from AI and FE (→EE). This is most probably the original ver-
bars 41, 49 and 53.
sion, changed by Chopin in the basis for GE. The chromatic pro-
gression in this latter version (our main text) is more in keeping
Bars 53-57 L.H. GE has dots prolonging the quavers (as in the
with the remaining part of the scale figuration of these bars than
previous bars) instead of semiquaver rests.
the broken thirds of the original version. The ascending four-note
1 progressions on the fourth crotchets of bars 82-85 and 88-91
Bar 58 R.H. The b in the chord at the beginning of the bar ap-
1 echo the four-note figures leading up to the highest notes in the
pears in FE (→EE), but not in GE. The version with b refers in
1 middle of these bars.
sound to bar 56, whilst the version without b continues the ar-
rangement of the previous bar. Bars 84 and 91 L.H. The main text comes from FE (→EE), the
L.H. In GE there is a slur over the whole bar. variants from GE.
L.H. Vertical lines, most probably indicating the passing of the
fourth, sixth and eighth quavers to the R.H., are added in FES p. 23 1
Bar 87 L.H. As the fourth quaver GE has the chord f -g -d .
and FED. See Performance Commentary. A comparison with AI, in which this chord appears both here and
in bar 93, proves that this is the original version, doubtless left
Bars 59-60 In FE (→EE) the moment of the return to the proper, 1
by Chopin inadvertently. In removing d , Chopin wished probably
initial tempo is not explicitly indicated (one can only infer it from 2
to avoid the clash with d in the R.H.
the dashes limiting the extent of the rall. to the end of bar 58).
p. 24
GE has in Tempo at the beginning of bar 59. We follow FESch, Bar 92 R.H. In FES, written above the first note of each of the
where Chopin added a similar marking, but somewhat later. four groups of demisemiquavers in the second half of the bar is
the fingering 4. Given that Chopin’s fingering in the similar fig-
Bar 61 and 73 FE (→EE) has only the sign at the beginning uration in bar 86 results naturally from the order of black and
of these bars, which could be understood as a general indication white keys, it would seem that the figures in bar 92 were written
con pedale (cf. Etude in E Op. 10 No. 11, bars 3, 11 and 34). in by error (they may possibly have been intended for the second
The remaining pedal marks given by us Chopin added in FES. note in each group).

8
 Source Commentary

p. 25
Bars 92-93 R.H. The last five demisemiquavers of bar 92 and Bars 98-100 In GE dim. does not appear until the second quaver
the first two of bar 93 are given in the version introduced by of bar 100.
Chopin in the proofreading of FE2 (→FE3) and – most probably
– in the base copy for EE1. In the remaining sources (including Bar 100 was added by Chopin in FED.
EE2) these bars repeat the shape of analogous bars 86-87.
Bar 101 R.H. In FE (→EE) the first note has the value of a crot-
Bar 93 L.H. As the first note, FE1 (→FE2) has a . This error was chet. AI also has a crotchet here, yet marked staccato. The qua-
corrected in FE3. ver appearing in GE is undoubtedly Chopin’s improvement of the
notation, as is confirmed by a clear sign of phrase division writ-
Bars 94 and 96 L.H. The ties sustaining g and g 1 are reproduced ten here by the composer in FED.
after AI. In GE, instead of the tie linking the two g 1 on the sixth L.H. In the penultimate chord, FE1 (→FE2,EE1) has f 1 instead
and seventh quavers in bar 94, there is a motivic slur between g - of g 1. Chopin corrected this error in FESch and FES. The relev-
c 1, whilst FE (→EE) has similar slurs in both bars. These ver- ant correction was also made in FE3 and EE2.
sions are probably the result of an erroneous reproduction in the
original editions of the notation of the autographs (with ties as in
AI). The pairs of chords repeated in alternation, based on a simi-
lar harmonic scheme, can be found in the Sonata in B minor Impromptu in G flat major, Op. 51
Op. 35, movt. I, bars 81-85 and similar. Also there, the common
note of the chords is repeated only in the second pair, based on Sources
the dominant and tonic of the principal key of a given fragment. A Autograph fair copy intended as a basis for the original German
edition (Library of Congress, Washington). A displays quite nu-
Bar 95 L.H. The first half of the bar evolved as follows: merous inaccuracies in the notation of accidentals.
GE1 Original German edition, F. Hofmeister (2900), Leipzig, April
AI
1843, based on A. GE1 was proofread by Chopin, and also bears
traces of editorial alterations.
GE GE2 Second impression of GE1, in which several errors are amended.
GE = GE1 and GE2.
FE Original French edition, M. Schlésinger (M.S. 3847), Paris, May
FE (→EE) 1843. FE is based on a proof of GE1 and was corrected by Cho-
pin. It contains a substantial amount of errors. There are copies
This last version, harmonically and rhythmically the smoothest, with the wrong order of pages (cf. quotations about the Im-
and most probably the latest, can be held to be the final one. promptus... before the musical text).
L.H. The note a on the seventh quaver of the bar, together with FED, FES, FEJ – pupils’ copies of FE with annotations by Chopin con-
the beam linking it to the b in the R.H., is found in EE only. This taining a few corrections of printing errors, fingering and per-
is probably one of the additions made by Chopin to the copy of formance indications:
FE1 which served as the basis for this edition. FED – copy from the collection belonging to Chopin’s pupil Ca-
mille Dubois (Bibliothèque Nationale, Paris);
Bars 95 and 97 R.H. As the first two notes, AI, GE and FE1 FES – copy from the collection belonging to Chopin’s pupil Jane
have e 3-f 3. Chopin changed them to a 2-e 3 in the base copy for Stirling (Bibliothèque Nationale, Paris);
EE in bar 95, and in the proofs of FE2 in bar 97. We adopt these FEJ – copy from the collection belonging to Chopin’s sister Lud-
complementary modifications as expressing Chopin’s latest in- wika Jędrzejewiczowa (Fryderyk Chopin Museum, Warsaw).
tention. EE Original English edition, Wessel & Stapleton (W & S. 5304), Lon-
R.H. As the third demisemiquaver of the fifth group AI and GE don, April 1843, based on FE or a proof thereof. EE bears evid-
have e 1. We give the e 1 appearing in FE (→EE) as an undoubt- ence of editorial alterations and was not corrected by Chopin.
edly later version.
Editorial principles
Bar 96 L.H. GE has an additional d on the second quaver and d 1 Adopted as the basic source is A, with account taken of Chopin’s later
on the sixth quaver. In AI, d and d 1 initially appeared in both changes in GE and FE. We also take into consideration the additions in
bar 94 and 96; Chopin subsequently eliminated the striking of the pupils’ copies.
these notes in the repetitions of the motif: d 1 on the sixth quaver
in bar 94 was removed, and d on the second quaver of bar 96 The title and tempo indication
was tied to the preceding note. In FE, this process was consis- In his correspondence with publishers, Chopin called this work an Im-
tently carried through: d appears only on the second quaver of promptu both prior and subsequent to its publication (cf. quotations about
bar 94, when this motif, introducing a new harmony, appears for the Impromptus... before the musical text). Such a title is also borne by
the first time. It therefore appears highly probable that in the A, as well as by FE (→EE), which Chopin proofread. GE gives the title
manuscript basis for GE Chopin partially copied the text of AI, Allegro vivace , which undoubtedly arose from a misunderstanding:
forgetting to introduce the intended corrections. Chopin wished to use this term to replace not the title but the original
indication Tempo giusto appearing in A (→GE). Eventually, in correct-
Bar 97 L.H. In the first quaver, AI and GE additionally have a 2. ing FE (→EE), Chopin defined the tempo of the Impromptu as Vivace .
Later corrections of the R.H. part (see note to bars 95 and 97) p. 26
show that Chopin definitively abandoned this version. Bar 3 R.H. The accents are added in FES.
R.H. As the third demisemiquaver of the seventh group, AI and
Bar 6 R.H. As the third quaver, FE (→EE) erroneously has c 2,
GE have g 1. We do not take account of this original version, al-
which Chopin corrected in FED and FES.
tered by Chopin most probably in the manuscript basis for FE. R.h. Before the last quaver the sources lack the restoring a 1.
Chopin’s oversight is testified by appearing in all the sources
Bars 97-98 L.H. AI and GE have the following version:
in the analogous bar 79.

Bar 10 R.H. As the final quaver of the first half of the bar GE1
(→FE→EE) has g 2. Chopin corrected this error in FEJ and FES.
We omit it here as it was most probably rejected by Chopin. The correct text also appears in GE2.

9
Source Commentary

p. 27
Bar 11 r.h. Before the ninth quaver the sources are lacking the Bars 32-34, 37-38 and similar. R.H. A has the following slurring:
1
restoring a . Chopin’s error is testified by appearing in all
sources in the analogous bars 27 and 84.
1 32
Bar 13 R.H. The grace note g is found in A (→GE). In FE only
its head was printed, which makes it practically impossible to
discern its signification. This resulted in the lack of the grace
note in EE and in some of the later collected editions. 37

Bars 14, 30 and 87 R.H. FE (→EE) does not have the above (in A, bars 84-100 are marked as a repetition of bars 27-43.)
the second quaver. This is most probably due to the engraver of In the original editions, these slurs were reproduced with minor
FE misreading the unusual mordent mark used in GE. alterations, most probably of an accidental nature. In bars 33, 37,
89 and 94, Chopin added in FED slurs linking the last quaver of
1 these bars with the preceding quavers, while in bars 32, 37, 89
Bar 15 R.H. A (→GE) lacks the restoring e on the ninth qua-
and 91 he placed a line separating the same last quaver from the
ver. This sign was added in the correction of FE (→EE). subsequent bar. Given that in FE the final quavers in bars 38, 90
1 and 95 are printed – due to the above-mentioned inaccuracies –
Bar 16 R.H. A lacks the tie sustaining b . This error was cor- as linked to the preceding notes, it is clear that in relation to A,
rected in GE (→FE→EE). FED displays consistent changes of phrasing in nine out of the
ten places, including six marked by Chopin in his own hand. In
Bar 17 R.H. Before the eleventh quaver the sources lack accid- this situation, deeming the altered phrasing to represent Chopin’s
entals. The inadvertent omission of the before the upper note final conception, it is the only one reproduced in our edition.
3 2
(c ) is beyond question. Also the lack of the restoring e in the
lower voice is most probably an oversight by Chopin (cf. char- Bar 33 The sign appears in A. GE (→FE→EE) erroneously
acterisation of A and notes to bars 6, 11, 15, 26 and 83, 48). has instead. Similar engraver’s errors are also encoun-
tered in other works, e.g. the Nocturne in D Op. 27 No. 2, bar 6,
Bar 19 is found only in A. Its lack in GE (→FE→EE) may and the Etude in C minor Op. 10 No. 12, bar 53.
be due either to the engraver’s oversight or to Chopin’s correc- 1
tion. Bars 37-38 and 94-95 Ties sustaining e and e are found in A.
In GE (→FE→EE) the R.H. tie in bars 37-38 wrongly begins one
p. 28 1
Bar 21 FE (→EE) lacks the (most probably an oversight). note too early, i.e. on e in the middle of bar 37. Moreover, FE
(→EE) lacks the L.H. tie in bars 37-38 and the R.H. tie in
Bars 23-25 The dynamic marks given by us in parentheses were bars 94-95. We give the unquestionable version of A.
added by Chopin in FES. 2 3
Bars 38 and 95 R.H. A has the sixth g -e as the final quaver.
Chopin corrected his error when proofreading GE (→FE→EE; as
Bar 24 GE (→FE→EE) has here, as in the identical 2
a result of an imprecise realisation of the correction GE1 has g -
bar 23. It appears highly unlikely that this sign would have been 3 3
e -g in bar 95).
added by Chopin, especially given the added later in FES
(cf. note to bars 23-25). Thus, it is probably an engraver’s error Bar 44 R.H. The main text comes from A, the variant from GE
or editorial alteration. (→FE→EE). Graphical and psychological evidence suggest
a possible error both by Chopin in writing A and by the engraver
Bar 25 L.H. A (→GE→FE→EE) lacks the chromatic signs before of GE in reading this notation. The following arguments speak in
the final chord. The raising g to g was added by Chopin in favour of the A version:
FES. However, doubts may also be raised concerning the pitch — the extension of the top note of a motif through an anticipated,
1 1 1
of the upper note of this chord (e or e ), since the e appearing syncopated striking is one of Chopin’s characteristic methods of
earlier was written by Chopin on the upper staff. The imprecise varying a rhythmic succession; cf. e.g. Ballade in G minor
notation of this chord indicates that Chopin considered it obvious. Op. 23, bar 167 in relation to bar 166 and also 107 and 175,
Given the almost identical harmonic progressions in bars 9 & 82, Concerto in E minor Op. 11, movt. II, bar 28 in relation to bar 27,
and also the fact that the note e which appears from bar 23 on- and bar 85 in relation to bars 84 and 35-36;
wards is part of the chord on which the harmony of these bars is — the version of the first editions can, with a large degree of
1 1 probability, be attributed to engraver’s error or to the editor’s
founded, the only chord to be considered obvious is g-d -e .
1 1 1 1 amendment of a supposed error by the composer.
Therefore, the chords g-d -e or g -d -e given by some later
In favour of the version given as a variant is the possibility of
collected editions most probably fail to correspond to Chopin’s Chopin’s error in A, subsequently corrected by himself in GE
intentions. (→FE→EE). Cf. note to bar 101.
Bars 26 and 83 L.H. In A, Chopin inadvertently omitted both the p. 30
1 1 1
Bar 48 L.H. A lacks the before the eighth note (c). This clear
raising c to c and also the subsequently restoring c . Both oversight on Chopin’s part was corrected in GE (→FE→EE).
accidentals were added in the correction of GE (→FE→EE).
Cf. bar 10. Bar 49 GE (→FE →EE) has, unlike A, a time signature. The
p. 29
replacement of by is one of the most common arbitrary
Bars 31 and 88 GE (→FE→EE) unifies the rhythmic notation of changes in the first editions of Chopin’s works (cf. commentary
the second half of the bar following bars 7 and 15. However, in A to the Impromptu in A Op. 29, bar 1, and also, e.g. to the begin-
the different notation of the L.H. rest that ends these bars impels ning of movt. I of the Concerto in F minor Op. 21).
one to distinguish bars 7 and 15, in which it applies to the upper
voice alone, from bar 31 (bar 88 is not written out in A), in which Bars 49-69 L.H. In the dotted rhythm ( ), which appears
Chopin wrote it clearly lower, as applying to the whole L.H. part. fifteen times in these bars, GE always places the semiquaver
1
So, the lack of dots prolonging the minims d and c in bars 31 after the third note of the corresponding triplet of the R.H., which
and 88 cannot be deemed an oversight by Chopin. The shorten- is contrary to Chopin’s understanding of this rhythmic figure (cf.
ing of these notes is justified by the linking with the following bar: Performance Commentary). The engraver of FE (→EE), possibly
in the L.H. via a leap in the bass from d to G 1 , in the R.H. with better acquainted with Chopin’s idiosyncratic notation, restored
1
the lack of a direct resolution of c to b . the proper alignment of the notes.

10
 Source Commentary

p. 32
N.B. Corrections in bars 49-50 that are visible in A show that Bar 78 L.H. A (→GE) has b instead of g on the ninth quaver of
Chopin began to write this section in the 12/8 time which had the bar. Chopin corrected his error in proofreading FE (→EE).
been in force from the beginning of the work: Cf. bars 5, 13, 29 and 86.

Bar 79 L.H. As the seventh quaver GE (→FE→EE) erroneously

has a .
Only when reaching the four-quaver groups in bar 51 did he
deem the notation in time, with triplets in the R.H., more nat-
3 Bar 84 R . H . The main text comes from GE (→FE→EE), the
1
variant from A. Chopin probably added a on the second quaver
ural and comfortable, identifying with . (See in proofreading GE, wishing to somewhat embellish and differen-
tiate the final recapitulation of the theme. The version of the
Appendix VIII in: Jan Ekier, Introduction to the National Edition.
original editions may, however, also be the result of error on the
Editorial Problems; available on www.pwm.com.pl.)
part of the engraver of GE, who began the progression in thirds
p. 31 one note too early.
Bar 62 R.H. As the final stroke of the first triplet, GE (→FE→EE)
1
has b only. This seems unlikely to be a correction by Chopin, p. 33
Bar 101 R.H. In the main text, we give the rhythmic notation of
since in GE there are no traces here of any changes being made.
A, since it is highly probable that Chopin imagined the whole of
1
Bar 65 R.H. On the ninth quaver of the bar A has the triad a -c -
2 the second half of the bar in a fourfold division. In the variant, we
2
e . Chopin removed the c
2
in proofreading GE (→FE→EE). put forward the version of GE (→FE→EE), thus taking into con-
Cf. bar 53. sideration the possibility of an error by Chopin in A and its pos-
sible correction in GE. Cf. note to bar 44.
Bar 71 L.H. As the third crochet FE (→EE) has e instead of g .
This error also appeared initially in GE, where it was corrected in Bars 102-103 R.H. The slur beginning in the second half of
the final phase of proofreading. Chopin restored the g in all bar 102 was added – most probably by Chopin – in the proofs of
three pupils’ copies. GE (→FE→EE).
1
Bar 74 L.H. The dynamic mark in the second half of the bar was Bar 104 R.H. The grace note g , which appears in A at the end
added by Chopin in FES. It may indicate either diminuendo or of the bar, is omitted in GE (→FE→EE).
a long accent under the triplet on the third crotchet of the bar.

Bars 74-75 The ritenuto was added by Chopin in proofreading Jan Ekier
GE (→FE →EE). Paweł Kamiński

11
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ophouden, zijn sponsen van alle soort, waar zij in nog meerdere
mate bescherming en voedsel vinden.

Ehrenberg heeft reeds tientallen jaren geleden, vele honderden

slibmonsters onderzocht, welke uit alle zeeën verzameld waren,
onder anderen op eene diepte van 3000–4000 M. Bijna geregeld
vormden schelpen van P o l y t h a l a m i ë n een groot percentage
daaraan, wat, als men het menigvuldig voorkomen daarvan aan
moerassige oevers in aanmerking neemt, geen verwondering kan
baren.

De nieuwere zorgvuldige onderzoekingen omtrent de diepte en

gesteldheid van den zeebodem, hebben het groote aandeel
aangetoond dat de P o l y t h a l a m i ë n s c h e l p e n aan de vorming
van dien bodem, van de Arctische tot aan de Antarctische Zonen
hebben gehad. Onder andere geslachten, welke een geringer
procentental leveren, komen vooral Globigerina en Orbulina in
aanmerking, de eerste uit ballen of kogels van steeds toenemende
grootte samengesteld, de andere een enkelen regelmatig gevormden
kogel vertoonend. De overblijfselen van hunne schelpen komen over
duizenden vierkante mijlen oppervlakte van den zeebodem voor en
in zulk een massa, dat zij een karakteristiek hoofdbestanddeel van
den bodem vormen, zoodat men spreekt van
G l o b i g e r i n e n g r o n d en G l o b i g e r i n e n s l ij k .

Sleept men het net langs den zeebodem, vooral waar men het
eenige vademen, zelfs tot op 100 vademen, moet laten zinken, dan
vangt men eene ongehoorde menigte van zulke levende
F o r a m i n i f e r e n , welke het G l o b i g e r i n e n s l ij k vormen. De
G l o b i g e r i n e n zelf zijn in vele zeeën zeer talrijk, en hun
karakteristiek voorkomen is geheel verschillend van de op den
bodem liggende schelpen, zoodat er niet den minsten twijfel kan
bestaan, dat deze Foraminiferen in de nabijheid van de oppervlakte
leven en dat de geheele schelpenmassa, waaruit de bodem bestaat,
van boven komt.

Wat de Engelsche natuuronderzoekers

hebben medegedeeld omtrent het
aandeel, dat de Foraminiferen aan de
vorming der aardlagen hebben gehad, is
eigenlijk niets anders dan eene bevestiging
en uitbreiding van de ontdekkingen van
Ehrenberg. Hij erkende reeds de groote
overeenkomst van vele thans levende
Foraminiferen met die, welke de
reusachtige krijtlagen hebben gevormd, en
sprak van „levende krijtdiertjes”. Maar niet
alleen van het s i l u r i s c h e tijdperk tot Dendritina elegans. a) van
aan de k r ij t f o r m a t i e hebben zij zich ter zijde, b) van voren.
Vergroot.
bezig gehouden met hun reuzenarbeid aan
de vorming onzer aarde, even groot of nog
grooter schijnt hun aantal te zijn in het onderste t e r t i a i r e
gesteente, zoodat men in het Bekken van Parijs de
M i l i o l i t e n k a l k , in West-Frankrijk de A l o c o l i n e n k a l k en ten
slotte in eene lange en breede, langs beide zijden van de
Middellandsche Zee tot in den Himalaya uitgestrekte Zone, de
N u m m u l i t e n k a l k genoemd heeft naar de geslachten van
Rhizopoden, uit welker overblijfselen zij grootendeels en somtijds
alleen bestaan. [768]

[Inhoud]

DERDE ORDE.

DE AMOEBEN (L o b o s a ).

De reeds sinds het midden van de 18e eeuw bekende A m o e b e n

zijn deels met een schaal voorzien, deels naakt.

Wie geen gelegenheid heeft het wonderbare spel van het

Pseudopiën-net te zien, vindt misschien gemakkelijker een met het
microscoop bekenden vriend, die hem een verwant wezen uit het
zoete water kan laten zien, n.l. het K a p s e l d i e r t j e (Arcella). In
volmaakten toestand is het omgeven door een bruine,
ondoorzichtige schaal met gewelfde rugzijde en een ingedrukte
buikzijde met een kringvormigen mond in het midden daarvan. Het
diertje gelijkt volmaakt op een sierlijk doosje. Uit den mond komt
een gedeelte van de weeke lichaamszelfstandigheid in korte
veranderlijke verlengsels. In het weeke lichaam der A r c e l l e n zijn
verscheidene kernen, elk met haar kernlichaampje, bevat. Jonge
exemplaren zijn doorzichtig, zoodat men de bewegelijke
p r o t o p l a s m a l i c h a a m p j e s goed kan waarnemen.

Bij andere vormen, zooals b.v. bij de Euglypha alocolata, is de schaal

zakvormig; haar vrije rand schijnt gezakt en hare oppervlakte is
samengesteld uit regelmatige, zeer kleine, zeshoekige schubjes. De
p r o t o p l a s m a -verlengsels zijn tamelijk lang, zacht en meestal
aan het einde vertakt.

Van de Arcellen tot de naakte Amoeben is slechts een schrede.

Doorzoekt men met een sterk vergrootglas slib uit stroomend water
of den inhoud van afgietsels van allerlei soort, dan wordt het oog
weldra geboeid door kleine, levende, slijmachtige klompjes, die
volmaakt op de weeke lichaampjes van de a r c e l l e n gelijken en
ook, evenals die, een kern bezitten.

Het A m o e b e n l i c h a a m bestaat uit een buitenste

doorschijnende, iets vastere laag (s c h o r s , e s t o s a r c ) en een
daarbinnen bevatte korrelige, half vloeibare s a r c o d e m a s s a
(m e r g , e n d o s a r c ). In deze laatste bevinden zich talrijke, kleine
lichaampjes, deels tot het lichaam behoorende, deels van het
voedsel afkomstig. De eerste zijn kleine korreltjes, kleine vetbolletjes
en uiterst kleine kristalletjes. Voorts is er een ronde of eironde kern
(n u c l e u s ) in bevat, die door een duidelijk vlies begrensd is. In
den jongen toestand bevindt zich in die kern een enkel
kernlichaampje; later splitst zich haar inhoud in een aantal kleine
bolletjes, die zich in het inwendige van het lichaam verspreiden.
Deze bolletjes zijn de kiemen of kiemkorrels (s a r c o b l a s t e n ). De
zoogenaamde kern is derhalve eigenlijk een voortplantingsorgaan.
De
A
m
oe
be
n
heb
ben
bet
rek
keli
jk
een
niet
ona
anz
ienl
ijke
Amoeba proteus. Sterk vergroot.
gro
otte
, zooals b.v. Pelomyxa villosa, die een doorsnede van 2 mM. en meer
bereikt. Zij zijn cosmopolitisch verbreid en misschien zijn het wel
dezelfde soorten. In Duitschland en in Noord-Amerika komen ten
minste dezelfde soorten voor. De meeste soorten bewonen het zoete
water, doch ook de zeeën, ja, er zijn zelfs soorten, die op het land
voorkomen en nog wel op geheel droge plaatsen: onder mos en
dergelijke planten, welke aan rotsen, muren, boomen en op daken
groeien, derhalve op plaatsen waar het water geheel ontbreekt en
die het meest zijn blootgesteld aan uitdrogen door de zon.

De echte W o r t e l p o o t i g e n , waarvan hiervoor gesproken is,

worden reeds door verschillende natuuronderzoekers van naam,
evenals dit vroeger met de Sponsen het geval was, niet meer tot de
dieren gerekend. De bewegelijkheid der s a r c o d e achten zij niet
voldoende om deze wezens een, zij het ook nog zoo
onbeteekenende, ziel toe te kennen, door wier bezit de
R h i z o p o d e n zich boven de mechanische gevoeligheid der
M i m o s e n zouden verheffen. Ware het ons vergund de levens- en
ontwikkelingsgeschiedenis der S l ij m z w a m m e n (Myxomycetes)
te bespreken, aan welker plantachtige natuur tot heden niemand
twijfelt, dan zouden wij daarbij p r o t o p l a s m a -toestanden
ontmoeten, in welke zich alle beschreven verschijnselen van de
veranderlijke verlengsels der wortelpootige dieren herhalen.

Reeds bij den laatsten grondvorm van bewerktuigde (organische)

wezens, de p r o t o z o ë n , vinden wij onder de Infusoriën op den
laagsten trap staan M o n a s (Protomonas), een wezentje waarbij
nòch k e r n nòch c o n t r a c t i l e b l a a s voorhanden is. Het
lichaampje is geheel homogeen en breidt zich, tot rust gekomen, als
eene kleine A m o e b e of A c t r i n o p h r y s uit, die met andere, op
dergelijke wijze gevormde, Amoebenachtige wezens tot een
p l a s m o d i u m samenvloeit, waarom vervolgens een k y s t e
(uitwendig hulsel) ontstaat.

Zulke vormen stellen een verband daar tusschen de F l a g e l l a t e n

en de R h i z o p o d e n , maar ook met de M y x o m y c e t e n of
S l ij m z w a m m e n , die zonder twijfel tot het plantenrijk behooren.

En hiermede zijn wij genaderd tot de grenzen tusschen het dieren-

en het plantenrijk. Verder te gaan veroorlooft het bestek van dit
werk niet.
 Inhoudsopgave

DE OERDIEREN (P r o t o z o a ). 760
1. DE INFUSORIËN (I n f u s o r i a ). 760
1. DE TRILHAREN-INFUSORIËN (C i l i a t a ). 761
2. DE ZWEEP-INFUSORIËN (F l a g e l l a t a ). 763
2. DE WORTELPOOTIGEN (R h i z o p o d a ). 764
1. DE STRAALDIEREN OF LOBVOETEN (R a d i o l a r i a ). 765
2. DE KAMERLINGEN OF GAATJESDRAGERS
(F o r a m i n i f e r a ). 765
3. DE AMOEBEN (L o b o s a ). 768

[Inhoud]
 Het Leven der Dieren in Project Gutenberg.

Eerste Deel: Zoogdieren.

1. Apen. 16701 📘
2. Halfapen. 17304 📘
3. Vleermuizen. 17304 📘
4. Roofdieren. 20129 📘
5. Robben. 18516 📘
6. Insecteneters. 18516 📘
7. Knaagdieren. 20530 📘
8. Tandeloozen. 20542 📘
9. Slurfdieren. 20542 📘
10. Onevenvingerigen. 20542 📘
11. Evenvingerigen. 23925 📘
12. Sirenen. 24008 📘
13. Walvischachtigen. 24008 📘
14. Buideldieren. 24009 📘
15. Kloakdieren. 24009 📘

Tweede Deel: Vogels.

1. Boomvogels. 28746 📘
2. Papegaaien. 27945 📘
3. Duifvogels. 27945 📘
4. Hoendervogels. 27927 📘
5. Ralvogels. 27914 📘
 6. Kraanvogels. 27914 📘
7. Pluviervogels. 32834 📘
8. Vinduikers. 32824 📘
9. Stormvogels. 32824 📘
10. Stootvogels. 39404 📘
11. Hoenderkoeten. 40808 📘
12. Nandoes. 40808 📘
13. Kasuarisvogels. 40808 📘
14. Struisen. 40808 📘
15. Hagedisvogels. 40808 📘

Derde Deel: Kruipende Dieren; Visschen; Insecten; Lagere

Dieren.

1. Reptielen. 44811 📘
2. Amphibiën. 44834 📘
3. Visschen. 52341 📘
4. Insecten. 61275 📘
5. Duizendpooten. 61275 📘
6. Wormduizendpooten. 61292 📘
7. Spinachtigen. 61292 📘
8. Zwaardstaarten. 61292 📘
9. Schaaldieren. 61292 📘
10. Wormen. 61566 📘
11. Manteldieren. 61566 📘
12. Weekdieren. 62626 📘
13. Stekelhuidigen. 62662 📘
14. Plantdieren. 62662 📘
15. Sponsen. 62662 📘
16. Oerdieren.
 Colofon

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Metadata

Titel: Het Leven der Dieren: De

Oerdieren
Auteur: Alfred Edmund Brehm (1829– Info ↗️
1884)
Taal: Nederlands (Spelling De Vries-
Te Winkel)
Oorspronkelijke [1900]
uitgiftedatum:

Codering

Dit boek is weergegeven in oorspronkelijke schrijfwijze. Afgebroken

woorden aan het einde van de regel zijn stilzwijgend hersteld.
Kennelijke zetfouten in het origineel zijn verbeterd. Deze
verbeteringen zijn aangegeven in de colofon aan het einde van dit
boek.

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 2021-06-17 Begonnen.

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Dit Project Gutenberg eBoek bevat externe referenties. Het kan zijn
dat deze links voor u niet werken.

Verbeteringen

De volgende verbeteringen zijn aangebracht in de tekst:

Bladzijde Bron Verbetering Bewerkingsafstand

760, 760 Trandescantia Tradescantia 1
760 mikroskoop microscoop 2
761, 761 microskopen microscopen 1
761, 762 microskopisch microscopisch 1
761, 762,
762 microskopische microscopische 1
762, 764,
768 microskoop microscoop 1
763 individuen individuën 1/0
767, 767 Foraminifeeren Foraminiferen 1
768 sarkode sarcode 1
*** END OF THE PROJECT GUTENBERG EBOOK HET LEVEN DER
DIEREN: DEEL 3.9, DE OERDIEREN ***

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