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b. 7-12

composition: Op. 28 No. 21, Prelude in B♭ major

Slurs in A (→FE→EE)

No slurs in FC (→GE)
..

The missing L.H. slurs in FC (→GE) beginning in b. 7 and 11 (as well as 12 – see note in this bar) most probably resulted from the copyist's inadvertence.

category imprint: Differences between sources

issues: Errors of FC

b. 7-12

composition: Op. 28 No. 20, Prelude in C minor

ritenuto in bars 7-8 in A (literal reading →FC,FE→EE1)

ritenuto in bars 11-12 in GE

ritenuto in both places in EE2

No indication
in AB & ACh

ritenuto in bar 7
in CGS
..

Due to the fact that b. 9-12 were added in the last phase of composing the Prelude and due to the abridged notation of those bars in A, it is uncertain how many ritenutos Chopin planned and where exactly. There are three possibilities, all are present in the sources:

  • ritenuto only in b. 7-8, where it was written in the manuscripts. We can observe this version in FE (→EE1).
  • ritenuto only in b. 11-12, like in GE.
  • ritenuto in both places, which is in EE2; it compiles the versions of FE and GE.

According to us, musically speaking, it is the ritenuto in b. 11-12 that is most natural, where, along with crescendo, it leads to the final fermata. We suggest this version (based on the assumption that Chopin did not fully adjust the notation of the Prelude to the new formal concept) in the main text.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Inaccuracies in CGS

b. 7-11

composition: Op. 28 No. 20, Prelude in C minor

..

In the main text we add cautionary flats before the a-a1 octave in b. 7 and 11.

category imprint: Editorial revisions

b. 7

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

on 6th quaver in A, probable reading

on 5th quaver in A (another reading→FC)

on 3. beat in A (possible reading→FE→EE)

on 2nd beat in GE

[ ] suggested by the editors

 on 3rd beat, our alternative suggestion
..

The position of the second  marking in this bar in A (→FC) is questionable. It is placed under the 2nd and 3rd quavers of the middle triplet (due to the correction of the 2nd quaver, they are very close to each other); it can also be assigned to the 1st note of the 3rd triplet (the version of GE is almost certainly contrary to the idea of Chopin). According to us, in A it seems that the mark should be associated with f on the 6th quaver of the bar, whereas in FC with b on the 5th one. Along with the version of FE, it exhausts the possibilities of a direct interpretation of this notation.
We suggest two more solutions drawn from the unequivocal, authentic pedalling of similar phrases in b. 5 and 17.
A similar situation can be found in b. 39. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in A

b. 7

composition: Op. 28 No. 15, Prelude in D♭ major

Quaver a in A (→FC→GE, →FE→EE1)

Crotchet in EE2
..

Following in the footsteps of the reviser of EE2, in the main text we suggest adding an additional crotchet stem next to a in the 2nd half of the bar after analogous b. 3. In further analogous bars (b. 22 and 78) respective extensions are not to be found any more in A (both in the 1st and the 2nd halves of the bar). Marking the first appearance of a given phrase in a more accurate manner was Chopin's frequent practice, hence the absence of those stems does not have to be considered an oversight. However, in the case of such single details, yet important for the sonic atmosphere, recurring at significant intervals, we consider it right to add the omitted elements of notation.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions