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Issues : Annotations in teaching copies
b. 3-4
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composition: Op. 28 No. 6, Prelude in B minor
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In the main text we give the fingering of FEJ, complemented at the beginning of b. 3 by the digits drawn from FES, compliant with it in the part where it is written. In FEJ one can see corrections of fingering – in b. 3, '4' was changed to '3' over the d2 semiquaver, while in b. 4 the last three notes were initially provided with the following digits: 1 2 3.We assume that the change was introduced or indicated by Chopin. The authenticity of the initial version, which is otherwise completely natural in terms of piano performance, is more problematic, and the authenticity of the indication of EE, which is compliant with it, is practically ruled out. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEJ |
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b. 3
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composition: Op. 28 No. 20, Prelude in C minor
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According to us, it is much more likely that the missing category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Omissions to cancel alteration , Errors of A , Annotations in FES |
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b. 3-7
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composition: Op. 28 No. 15, Prelude in D♭ major
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In the main text we give the undoubtedly Chopinesque fingering entered into FED in b. 3 and 7. The key element of that fingering – the 4th finger for the g category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FES |
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b. 3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In the main text we include the fingering entered into FESch, which could be coming from Chopin. Similar situations are in b. 6-7, 10, 12 and 15. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FESch |
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b. 4-5
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composition: Op. 24 No. 1, Mazurka in G minor
category imprint: Differences between sources |