mUltimate Chopin

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Issues : Inaccuracies in FC

b. 9-10

composition: Op. 28 No. 12, Prelude in G♯ minor

Accents in A (→FC,FE→EE)

No marks in GE
..

The abridged notation of these bars in FC creates confusion in the application of performance marks – accents, cresc., pedalling. We assume that the notation is compliant with the notation of A (except cresc.); however, GE interpreted it differently – the accents were omitted, and the pedalling marks were repeated.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FC

b. 9-10

composition: Op. 28 No. 12, Prelude in G♯ minor

No pedal markings in A (→FC,FE→EE)

Pedalling in GE
..

The pedalling of GE resulted from the vague, abridged notation of these bars in FC – see the note above.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 10-11

composition: Op. 28 No. 21, Prelude in B♭ major

Slur from semiquaver in A (→FE→EE)

Slur from minim in FC (→GE)
..

A late start of the slur is one of numerous slurring inaccuracies of Fontana in this Prelude – cf. the note to b. 2-4.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 10-11

composition: Op. 28 No. 12, Prelude in G♯ minor

cresc. in bar 10 in A (→FE→EE)

cresc. in bar 11 in FC (→GE)
..

B. 10 is written in FC in an abridged manner as a repetition of b. 2, and the cresc. indication present therein was written in b. 11, perhaps to remind us that the dashes concern that very mark. GE, however, considered that version binding instead of the indication in b. 2 (10) and reproduced it literally, omitting the beginning of the crescendo in b. 10.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 11-12

composition: Op. 28 No. 2, Prelude in A minor

in A

in FC & EE

No sign in FE1

in FE2

in GE

in CGS
..

The corrections and crossings-out visible in A reveal the changes performed both to the range and the position of the  hairpin in this place (As does not contain any dynamic markings). The initial mark, written between the staves, started between the 6th and 7th quavers in b. 10, which was changed by Chopin – he moved the beginning under the last quaver in that bar. Eventually, both versions were crossed out, and a new hairpin was written over the R.H. part, which we give in the main text. Although the new mark begins at the end of b. 10, both FC (→GE) and FE2 (→EE) placed its starting point only in b. 11 – these changes cannot come from Chopin, since he did not directly participate in the publication of the Preludes after having finished A. The longest mark of CGS is most probably an arbitrary interpretation of the hairpin of FE2 by the copyist. 

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

issues: Errors in FE , Scope of dynamic hairpins , Corrections in A , Deletions in A , FE revisions , Inaccuracies in FC