Issues : Errors of FC
b. 21
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composition: Op. 28 No. 17, Prelude in A♭ major
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In FC (→GE) the first c2 note is a dotted crotchet. The mistake was probably provoked by the complicated layout of this bar, in which the d1-f1 third of the 2nd L.H. quaver is written on the top stave next to the c1-g1 fifth of the bottom R.H. voice, thus creating an illusion of a third quaver filling c2 of the top R.H. voice. category imprint: Interpretations within context; Differences between sources issues: Errors of FC , Errors repeated in GE |
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b. 21
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composition: Op. 28 No. 17, Prelude in A♭ major
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The missing accent in FC (→GE) and EE are oversights of Fontana and of the engraver of EE. The mark having been moved to the side of noteheads in FE, i.e. in this case under the stave, is a frequent, routine revision; thus, the notation was left without a suggestion – certainly intended by Chopin – to accent the a1 note. category imprint: Differences between sources issues: Placement of markings , Errors in EE , FE revisions , Errors of FC |
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b. 22-23
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composition: Op. 28 No. 1, Prelude in C major
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The range of cresc. having been extended until the very end of b. 23 in FC (→GE) is a mistake of the copyist, who led the dashes marking its range to the end of the line, just like in A; however, he did not realize that the end of the line is placed differently in each of the manuscripts – in A in b. 21, whereas in FC – in b. 23. category imprint: Differences between sources issues: Errors of FC |
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b. 22-24
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composition: Op. 28 No. 24, Prelude in D minor
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The missing marks are one of a few patent oversights of Fontana – cf., e.g. b. 4-7. category imprint: Differences between sources issues: Errors of FC |
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b. 22-23
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In FC (→GE) Fontana confused b. 22 with b. 23 and placed the mark a bar too late (in A the mark in b. 22 falls at the beginning of the line, whereas in FC it is b. 23, identical in the L.H. part, that opens the line). category imprint: Differences between sources issues: Errors of FC |