mUltimate Chopin

Op. 28 No. 3, Prelude in G major

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Page: 
Source: 
p. 1, b. 1-15
p. 1, b. 1-15
p. 2, b. 16-33
Main text
Main text
FCI - Fontana's copy of earlier version
A - Autograph
FC - Fontana's copy
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
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FCI - Fontana's copy of earlier version
A - Autograph
FC - Fontana's copy
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
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  b. 1

  in FCI

No signs in A (→FC→GE, →FE→EE)

It seems that the dynamic markings modelling the figuration were not accidentally overlooked by Chopin in A; it was rather a conscious decision related to the general change of concept of the Prelude – see the note on the tempo indication. Chopin would often cross out such marks in autographs, e.g. in the Scherzo in B Minor, Op. 31, b. 334-349.
The same applies to the markings in b. 3-4 and 7 and 9.

Compare the passage in the sources »

category imprint: Differences between sources

issues:

notation: Articulation, Accents, Hairpins

Missing markers on sources: FCI, A, FC, FE1, FE2, FED, FEJ, FES, FESch, GE1, GE2, GE3, EE1, EE2, EE1a
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