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Issues : GE revisions

b. 1-10

composition: Op. 28 No. 9, Prelude in E major

Notation in A

Notation in FC

Notation in FE (→EE), GE & CGS
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We reproduce the dotted rhythms against the triplets in the R.H. in accordance with the notation of A (→FC), in which the semiquavers fall exactly over the 3rd quaver of the accompanying triplets. In FE (→EE) and GE the semiquavers were arbitrarily moved beyond the 3rd note of the triplets, contrary to the convention Chopin would use all his life. See the Nocturne in C Minor, Op. 27 No. 1, b. 5-13.
The issue of separating the top voice is related to the above problem. We adopt a notation (used in A undoubtedly on purpose, yet inconsistently) in which the top note of the chord is combined with the bottom ones with a stem. FC (→GE) and FE (→EE) considered it a superfluous complication and separated the voices. Such a notation is also to be found in CGS.

category imprint: Differences between sources

issues: GE revisions , Dotted rhythms and triplets , FE revisions

b. 1-4

composition: Op. 44, Polonaise in F♯ minor

Single slurs in FE (→EE) & GE1

Double slurs in GE2
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In GE2 L.H. slurs were added in b. 1-4; we consider them superfluous – in such parallel sequences, particularly those written on one stave, Chopin would be satisfied with single slurs, which should be regarded as referring to both hands.

category imprint: Differences between sources

issues: GE revisions

b. 1

composition: Op. 28 No. 22, Prelude in G minor

a-c1 tied in A (→FE→EE)

a-c1 repeated in FC (→GE1)

c1 tied in GE2 (→GE3)
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The missing ties of the a-c1 third must be Fontana's mistake in FC (→GE1). GE2 (→GE3) added only the tie of c1; perhaps it is a result of an incompletely implemented revision – in analogous b. 35 both ties were added.

category imprint: Differences between sources

issues: GE revisions , Errors of FC

b. 1

composition: Op. 28 No. 19, Prelude in E♭ major

e1 in A (→FC→GE1, →FE→EE)

g1 in GE2 (→GE3)
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The change of the 3rd quaver of the bar from e1 to g1, introduced in GE2 (→GE3), most probably originated from analogous b. 9, in which g1 is present in all sources. There is no question that g1 is more natural here from the pianistic point of view as well as more logical in terms of the structure of figurations. Therefore, did Chopin actually commit a Terzverschreibung mistake right at the beginning of a piece? An important argument against that hypothesis is a similar differentiation between b. 1 and 9 in the Etude in E Major, Op. 10 No. 11 (in the Etude, the notation rules out a mistake, since it would have had to encompass 5 chords). In both cases, it was a combination with the preceding figure (in b. 8-9) or its absence (in b. 1) that could have been the reason for the differentiation. Taking into account the above, in the main text we leave the version of A. A similar situation can be found in b. 33.

category imprint: Differences between sources

issues: Terzverschreibung error , GE revisions

b. 1

composition: Op. 28 No. 16, Prelude in B♭ minor

in A (→FE→EE) & GE

No indication in FC
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The absence of  in FC must be the copyist's mistake. It is unclear on what grounds that indication was added in GE – most probably it was a particularly opportune revision.

category imprint: Differences between sources

issues: GE revisions , Errors of FC