



b. 4
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composition: Op. 28 No. 23, Prelude in F major
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The crossed-out g2 note before the final a2 note, which can be seen in A, and the e2 note, added clearly later, prove that the last 3 semiquavers in the bar were initially f2-g2-a2. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 4
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composition: Op. 28 No. 22, Prelude in G minor
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a koniec może sugerować połączenie z łukiem w t. 5. Obie możliwości interpretacji końcówki tego łuku znalazły odzwierciedlenie w źródłach, category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 4
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composition: Op. 28 No. 21, Prelude in B♭ major
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Interpreting the top note of the 6th L.H. quaver, e To eliminate the possibility of creating incoherent combinations of variants from different notes, we include the fingering of EE and FES, which applies to the e category imprint: Differences between sources issues: EE revisions , Rhythmic errors , Deletions in A , Errors of FC , Inaccuracies in A |
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b. 4
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composition: Op. 28 No. 21, Prelude in B♭ major
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In FC (→GE) the slur reaches e category imprint: Differences between sources issues: Errors of FC |
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b. 4-5
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composition: Op. 28 No. 21, Prelude in B♭ major
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In the main text we give the slur of A (→FE→EE). The slur of FC starts a quaver earlier, whereas GE also moved its ending, which made it resemble the previous slurs, thus consolidating a distorted image of articulation of these figures – see the notes in b. 1-2 and 2-4. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FC |