Issues : Fontana's revisions
b. 34-36
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composition: Op. 28 No. 24, Prelude in D minor
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A (→FE) is missing accidentals before the quavers ending the first L.H. figures in b. 34 and 36. The necessary sharps raising f to f were added in FC (→GE) and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Omission of current key accidentals , Fontana's revisions , Inaccuracies in A , Errors repeated in FE |
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b. 36
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composition: Op. 28 No. 24, Prelude in D minor
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In A (→FE) there is no before the last note of the roulade, raising d4 to d4. That inaccuracy, typical of Chopin, was corrected in FC (→GE) and EE. However, in FC the added covered the small notehead, as a result of which GE1 interpreted the note as a small protuberance on a ledger line below that note, which resulted in c4. The mistake, patent in this harmonic context, was corrected in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Inaccuracies in FC , Fontana's revisions , Inaccuracies in A , Errors repeated in FE |
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b. 36
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The absence of a must be Chopin's oversight (this bar is written in A at the end of the line, which promotes inaccuracies). In the main text we suggest adding the mark analogously to the 1st half of the bar, since the authenticity of the mark added in FC (→GE) and FE (→EE) at the end of the bar is questionable. category imprint: Differences between sources; Editorial revisions issues: FE revisions , No pedal release mark , Fontana's revisions , Inaccuracies in A |
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b. 37
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composition: Op. 28 No. 24, Prelude in D minor category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Fontana's revisions , Inaccuracies in A |
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b. 37
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composition: Op. 28 No. 22, Prelude in G minor
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In A this bar is added on a stave below; the place in which it should be inserted is also marked. The addition of the bar could have been related to the changes of the rhythmic values of the final cadence, which was initially a bar longer. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Fontana's revisions |