mUltimate Chopin

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Issues : Inaccuracies in A

b. 13-14

composition: Op. 28 No. 18, Prelude in F minor

New cresc. from bar 13 in A, literal reading

cresc. continued in bar 14 in FC (→GE)

cresc. continued in bar 13 in FE (→EE)
..

In the main text we reproduce the notation of A literally, in which cresc. in b. 13 somehow initiates a second wave of growth of dynamics. However, it is likely that Chopin meant it to continue the cresc. that began in b. 9, while its repetition in b. 13 was supposed to remind us what the dashes concern (b. 13 opens a new page in A). Therefore, the version of FE (→EE), in which this is how it was interpreted, may be considered an equal variant. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FC , Inaccuracies in A

b. 14-16

composition: Op. 28 No. 5, Prelude in D major

Pedalling in A (probable interpretation→FC)

Pedalling in FE

Pedalling in GE

Pedalling in EE
..

At times, the pedalling of A is difficult to interpret here due to a dense notation and crossings-out. The  mark can be particularly troublesome, since it encompasses two notes sometimes. In the main text we give a version that is compatible with the notation and that includes the harmonic changes. This is how it was reproduced by Fontana in FC; however, neither FE nor GE repeated that version. The notation of EE is also noteworthy: a  mark at the beginning of the bar is followed by two  marks, one in the middle and the other at the end of the bar. The above situation can be observed three times.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Errors in EE , Inaccuracies in A

b. 14-22

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In this Prelude Chopin generally did not put accidentals before the top notes of broken octaves – see b. 1-4. In the discussed bars, the problem concerns the following notes:

  • in b. 14 c2, d2, d2 and e2,
  • in b. 15 and 17 e2, d2, f2 and g2,
  • in b. 16 e2, d2, f2 and b2,
  • in b. 18 e2, d2, f2 and e2,
  • in b. 19 e2,
  • in b. 21 a2, b2 and e3.

Such a notation is in A (→FC,FE), whereas EE, GE1 and GE2 added the majority of the necessary accidentals (21, 18 and 22 out of necessary 24, respectively).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 14-21

composition: Op. 28 No. 8, Prelude in F♯ minor

..

As was the case in b. 3-4, in A Chopin generally omits accidentals next to the bass quavers if the accidentals have been written an octave higher next to one of the preceding semiquavers. In the discussed bars, it concerns G in b. 14, B in b. 15-18, f in b. 20 and g in b. 21. That notation was literally repeated in FE; FC repeated it almost without changes (the only addition was a  next to B in b. 16). EE1 added the majority of the necessary accidentals – all except for the  of G in b. 14, while the remaining editions contain a fully correct notation.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 14

composition: Op. 28 No. 14, Prelude in E♭ minor

..

In A (→FE) there is no  restoring B at the beginning of the 2nd half of the bar (however, a corresponding accidental is featured in the R.H. part). The flat was added in FC (→GE) and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Fontana's revisions , Inaccuracies in A