Issues : Abbreviated notation of A
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b. 25-32
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composition: Op. 28 No. 8, Prelude in F♯ minor
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From the 2nd R.H. beat in b. 25 on, in A (→FC) Chopin marked the majority of repeated figures in both hands with conventional repeat signs (•/•). The editions did not use the abbreviation, which resulted in an erroneous interpretation of the accents in b. 25-26. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 25-32
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composition: Op. 28 No. 22, Prelude in G minor
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In A (→FC) these bars are marked in an abridged manner with letters from a to h as repetition of b. 17-24. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 26-27
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut and GE3, the chords in the L.H. are written in an abbreviated manner in these bars, as minims with quaver tremolos (a similar situation in bars 28-35). This notation provoked a misunderstanding concerning the articulation of these chords – see the note in the previous bar. category imprint: Differences between sources issues: GE revisions , Abbreviated notation of A |
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b. 26-42
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composition: Op. 28 No. 24, Prelude in D minor
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In b. 26, 27 and 40, the L.H. part in A (→FC) is marked with •/• as repetition of the preceding bar. Abridged notation is used in the manuscripts also to mark the 2nd half of the bar in b. 29-37, 39 and 41-42. Out of the editions, in was only FE that used a similar notation, although to a lesser extent – in all the aforementioned bars, their second halves were marked with a / mark. category imprint: Differences between sources issues: Abbreviated notation of A , FE revisions |
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b. 26
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A (→FC) Chopin wrote here only the top slur and pedalling markings. The remaining contents of this bar were marked as a repetition of the previous one with the help of two •/• marks. category imprint: Differences between sources issues: Abbreviated notation of A |