Issues : Annotations in FEJ
b. 5
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composition: Op. 28 No. 6, Prelude in B minor
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In the main text we give the fingering entered into FEJ, confirmed by a more sparing entry in FED. The addition in FES is also compliant with that fingering, although the d1-g1 notes can be performed by other fingers, e.g. 4-2. Actually, it was those digits that were initially written in FEJ in this place and changed to 2-1. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Annotations in FEJ |
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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. 11, Prelude in B major
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FE overlooked the restoring e1 on the 5th R.H. quaver. The accidental was added in EE; it was also entered into FEJ, probably by Chopin. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FEJ |
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b. 7-8
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composition: Op. 28 No. 6, Prelude in B minor
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In the main text we include the fingering entered into FEJ. The different fingering of EE is almost certainly inauthentic. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEJ |
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b. 7-8
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composition: Op. 28 No. 6, Prelude in B minor
category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ |