b. 6-7
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composition: WN 37, Lento con gran espressione
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A1 is devoid of dynamic hairpins and accents in b. 5-18, which is a result of the working nature of this autograph. To the main text we adopt a mark that was an attempt to reconstruct [A2] on the basis of its two representations in CJ and CK. However, the interpretation of both is subject to some uncertainty due to the use of abridged notation of the L.H. part and in CJ also due to the lack of synchronisation in the notation of the parts of both hands. Consequently, the versions of both copies, and even the interpretation of CK given in CB, may be considered a potentially accurate interpretation of Chopin's intention. The absence of the mark in EL is probably a mistake. category imprint: Differences between sources |
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b. 6
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The shorter bottom arm of the accent in AF caused the mark in FE (→EE) to have been reproduced as short. The absence of the accent in GE2 is most probably an oversight. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 6-15
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composition: Op. 28 No. 3, Prelude in G major
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In FCI the identical places in terms of pitch and rhythm were marked differently, which is noteworthy – dim. in b. 6, yet poco cresc. in b. 15, i.e. in an analogous place. The fact that those indications were abandoned in the final version could have been related to the calmer tempo of the Prelude. See also b. 11, 27-30 and 32. category imprint: Differences between sources |
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b. 6-7
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composition: Op. 28 No. 6, Prelude in B minor
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In FEJ the mark referring to the e1 crotchet is illegible. According to us, it may be a fingering digit (2), written instead of a 'one' – it would then be the same notation that can clearly be seen in FES. The 1st finger on e1 in b. 6 visible in EE most probably also indicates that fingering. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEJ |
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b. 6
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composition: Op. 28 No. 7, Prelude in A major
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The version of FC (→GE) most probably results from Fontana having misunderstood the notation of A – the second phrase mark in this bar seems to begin earlier due to the trace of a quaver beam, showing through from the Prelude No. 8 in F Minor, written on the next page. category imprint: Differences between sources issues: Inaccuracies in FC |