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b. 2
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composition: Op. 28 No. 15, Prelude in D♭ major
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It is difficult to decipher the first of the two digits describing the change of fingers on the c2 minim in FES. At the first glance, it seems to be a three, which, however, cannot be obviously combined with the 2nd finger on a category imprint: Graphic ambiguousness; Differences between sources |
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b. 2
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composition: Op. 28 No. 15, Prelude in D♭ major
category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 2
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composition: Op. 28 No. 14, Prelude in E♭ minor
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This bar is written in the manuscripts as a repetition of the preceding one. Chopin used two •/• marks, written on the bottom stave, at the pitch of the parts of each of the hands. It could have suggested that it should be notes only that should be taken into account when writing out the abbreviation, since in b. 1 the dynamic marks are written over the top stave – see the note on them in b. 1. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 2
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The version of GE is a mistake of the engraver, which is indicated by the concordant version of the remaining sources and by a comparison with analogous motifs in b. 18 as well as in b. 6 and 22. category imprint: Differences between sources issues: Errors in GE |
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b. 2-3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A one can see crossed-out pedalling markings, according to which the pedal should be changed every half bar – 3 times category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
1 in b. 1. A close look reveals that the topmost part of the mark is vaguer, which suggests that it was written with a separate move. Therefore, a possible interpretation of that digit could be a five. It is also likely that it does not form a part of the mark at all, since it could be merely a trace of the pencil's move before the very act of writing. Such traces can occur when the writing person is in an inconvenient position, e.g. standing in front of a score placed on the music desk. In turn, the more distinct part of the entry resembles a four. The second and third interpretations result in pianistically natural solutions, i.e. the change of fingers from 5 to 1 or 4 to 1.
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