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b. 2-4
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composition: WN 37, Lento con gran espressione
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CJ is lacking in the bar lines before b. 2 and 4, which is a patent oversight. category imprint: Interpretations within context; Differences between sources issues: Errors of JC |
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b. 2-32
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composition: Op. 28 No. 1, Prelude in C major
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In b. 2-17, 22 and 28-32, in which the R.H. figure begins from the rest and is encompassed with one slur, the starting point of those slurs in A is unclear. The vast majority of the slurs begin over or even before the initial rest (b. 4, 10, 13-15), hence only the slurs in b. 5 and 17 seem to concern the notes only. The notation does not indicate an intention to differentiate between the range of those slurs (the differences are accidental inaccuracies); therefore, we consider that all of them encompass an entire bar. This is the version we give in the main text. On the other hand, Chopin would often write slurs with a flourish; consequently, we cannot rule out that it was also here that he wanted the slurs to encompass the 5-semiquaver figures only. This is how it was reproduced by Fontana in his copy, which was then repeated in GE. In turn, the notation of FE poses an analogous interpretative issue to the one in A – admittedly, the majority of the slurs begin over the rest (the ones in b. 28-32 even before), but the general picture is unclear, since the endings of those slurs also go far beyond the last semiquaver, which, of course, does not mean that they are supposed to reach further. In EE, based on FE, the slurs encompass the semiquavers only. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , EE inaccuracies , Inaccuracies in FC |
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b. 2-3
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composition: Op. 28 No. 2, Prelude in A minor
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In As Chopin uses abbreviations to write the L.H. part – b. 2 is marked with a slur over b. 1, which is written out. In turn, to indicate that b. 3 is a repetition of b. 2, Chopin inserted a conventional / mark. A slur as a repeat mark, often accompanied by bis, was frequently used by Chopin – cf., e.g. Lento con gran espressione WN37, b. 3-4. Abbreviations are also present in A (→FC) – •/• marks replace b. 2 and the second half of b. 3. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Abbreviated notation of A |
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b. 2-15
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composition: Op. 28 No. 3, Prelude in G major
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Conventional abbreviations were used in all manuscripts to write down the repeating figurations, mainly in the L.H. part. FCI features as many as 13 bars (b. 2-6, 14-16, 19-22 and 29) written down in such a way, which constitutes the largest share. It is very likely that it corresponds to the notation of the autograph of a previous version, which Fontana copied, since Chopin was very keen on using such abbreviations, particularly in unofficial manuscripts. This opinion is not challenged by the fact that Fontana used numerous abbreviations in FC (b. 11, 14-16, 19-21, 27 and 29) contrary to the notation of A (abbreviation only in b. 11): he could venture to do that having in mind the text and notation of the earlier autograph. category imprint: Differences between sources issues: Abbreviated notation of A , Fontana's revisions |
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b. 2-18
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composition: Op. 28 No. 6, Prelude in B minor
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Initially, Chopin marked the two-quaver motifs with an accent and a slur – as he did in b. 1 – also in b. 2-6, 11-16 and 18. All those markings were then crossed out – after the three accent/slur combinations in b. 1, Chopin left only one more at the end of b. 22, which, actually, gave it a special meaning. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
