mUltimate Chopin

Op. 28 No. 20, Prelude in C minor

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b. 11-12

composition: Op. 28 No. 20, Prelude in C minor

cresc. - - in A (→FE→EE)

cresc. in bar 12 in FC

No indication in GE

cresc. in ACh

cresc. -, cresc. in CGS
..

In the main text we give the indication after A (→FE→EE). In A its correct placement is not possible due to the abridged notation of those bars; however, we consider the interpretation adopted in FE (→EE) to be accurate – due to the dashes marking the range of the crescendo, all that matters is to determine its starting point, which falls more or less in the middle of the bar. Placing cresc. (with no dashes) only in bar 12 is undoubtedly a mistake by Fontana, aggravated in GE by the omission of the indication.
In the 9-bar version of AB the dynamic course could have been different, hence the missing cresc. does not have to be considered an inaccuracy. An earlier beginning of the crescendo, as it was marked by Chopin in ACh, may be considered an equal variant.

category imprint: Differences between sources

issues: Errors in GE , Errors of FC , Inaccuracies in CGS

b. 12

composition: Op. 28 No. 20, Prelude in C minor

No markings in A (→FC→GE, →FE→EE) & ACh

 in AB & CGS

in FED

() – our variant suggestion
..

In the version prepared for print, as well as in ACh, Chopin did not mark the scale of the final crescendo. However, such markings are present in AB and CGS and in FED. In the main text we suggest (in a variant form – in brackets) the  written by Chopin in FED, since it is the only addition to the text of A (→FE) coming directly from the composer. According to us, the authenticity of the  indication of CGS also seems to be highly likely, which is a consequence of a long, close acquaintance between the copyist and Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 12-13

composition: Op. 28 No. 20, Prelude in C minor

 in A (→FE)

No sign in FC (→GE), AB, ACh & CGS

  in EE
..

The position of the  mark is not strictly determined in A due to the missing musical text in the abridged marking of this bar. We assume the only reasonable solution, adopted in FE (→EE). The mark was omitted in the remaining autographs and overlooked by the copyists. EE arbitrarily added a  asterisk at the end of b. 13, almost certainly against the intention of Chopin – cf. the note to the Prelude No. 7 in A Major, b. 16.

category imprint: Differences between sources

issues: EE revisions , Errors of FC , Inaccuracies in A , Errors in CGS

b. 13

composition: Op. 28 No. 20, Prelude in C minor

Long accent in A (→FC,FE→EE), ACh & CGS

Short accent in GE

No mark in AB
..

The type of the accent written down in FC may be unclear if we do not compare it to other accents, e.g. in the Prelude No. 23 in F Major, b. 21, particularly without access to A. It justifies the engraver of GE to a certain extent. The missing accent in AB is compensated by the presence of  – see the note in the previous bar.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE

b. 13

composition: Op. 28 No. 20, Prelude in C minor

..

In A (→FC→GE) and AB Chopin inserted a fermata only above the upper staff. CGS also does not contain a fermata in the L.H. In the main text we add a fermata also for the bottom staff (in accordance with the contemporary editorial practices), particularly since it is present there also in ACh and FE (→EE).

category imprint: Differences between sources; Editorial revisions