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 restoring e1, which would result in e1 at the end of the bar, is one of numerous such oversights of Chopin – see, e.g. the note to b. 8 and 12 as well as to the Prelude No. 7 in A Major, b. 13 or No. 18 in F Minor, b. 8. Therefore, we assume that the flats entered or added in ACh, CGS and FES define or restore the only correct text, which we adopt as the main one. However, the version with e1 has a consistent place in the history of music, e.g. as the theme of variations of Feruccio Busoni (BV 213a) and of Sergei Rachmaninoff (Op. 22). 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 g2 minim – was also added in FES. The 4th finger crossing over the 5th (typical of the Chopinesque fingering) and the 4th finger slipping down from a black to a white key were also indicated in analogous b. 22 and 78. See also b. 14, 15-16 and, e.g. the Sonata in B Minor, Op. 35, 3rd mov., b. 31 or the Nocturne in B Major, Op. 32 No. 1, b. 37. 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 |