Issues : Inaccuracies in FC
|
b. 1-2
|
composition: Op. 28 No. 14, Prelude in E♭ minor
..
The category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , Inaccuracies in FC |
|||||||||||
|
b. 1
|
composition: Op. 28 No. 12, Prelude in G♯ minor
..
The fact that the category imprint: Differences between sources issues: Inaccuracies in FC |
|||||||||||
|
b. 2-32
|
composition: Op. 28 No. 1, Prelude in C major
..
In b. 2-17, 22 and 28-32, in which the R.H. figure begins from the rest and is encompassed with one slur, the starting point of those slurs in A is unclear. The vast majority of the slurs begin over or even before the initial rest (b. 4, 10, 13-15), hence only the slurs in b. 5 and 17 seem to concern the notes only. The notation does not indicate an intention to differentiate between the range of those slurs (the differences are accidental inaccuracies); therefore, we consider that all of them encompass an entire bar. This is the version we give in the main text. On the other hand, Chopin would often write slurs with a flourish; consequently, we cannot rule out that it was also here that he wanted the slurs to encompass the 5-semiquaver figures only. This is how it was reproduced by Fontana in his copy, which was then repeated in GE. In turn, the notation of FE poses an analogous interpretative issue to the one in A – admittedly, the majority of the slurs begin over the rest (the ones in b. 28-32 even before), but the general picture is unclear, since the endings of those slurs also go far beyond the last semiquaver, which, of course, does not mean that they are supposed to reach further. In EE, based on FE, the slurs encompass the semiquavers only. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , EE inaccuracies , Inaccuracies in FC |
|||||||||||
|
b. 2-10
|
composition: Op. 28 No. 23, Prelude in F major
..
The slurs in b. 2 and 6 (as well as in b. 18) explicitly encompass already the grace notes introducing the trills. In this situation, we consider the slur in b. 10 to be inaccurate; in the main text we suggest a slur analogous to the remaining ones. The notation of FC is vague – three out of four slurs run rather from the 2nd grace note (only in b. 6 from the first one). As such a notation is musically unjustified, we assume that the copyist meant slurs starting from the 1st grace note in all places, which is how it was interpreted in GE. As far as the end point of the slurs is concerned, according to us, the notation of A in b. 6 and 10 points rather to boldly written slurs (which were obvious to Chopin) than tenuto-slurs led to the end of the bar (see, however, b. 18). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , Inaccuracies in FC , Tenuto slurs |
|||||||||||
|
b. 2-4
|
composition: Op. 28 No. 21, Prelude in B♭ major
..
The ending of the slur from b. 2 led to b. 3 is hardly visible in A, which probably convinced Fontana that the slurs of L.H. figures were supposed to end on the last quaver in the bar, like in b. 1 (it is likely that it was only after he had seen the slurs in b. 5-6 and 6-7 that he realised that he was wrong and prolonged the slur in b. 4). In the case of beginnings of the slurs, even the correct interpretation of the slurs in b. 5-7 did not make him correct the previously written slurs or keep the notation of A in further bars (in A it is only the slurs in b. 9 and 15 that can be considered vague in this respect; the remaining ones clearly begin on the 2nd quaver). In the main text we give the notation of A (also in further bars). category imprint: Differences between sources issues: Inaccuracies in FC |
in bar 1 in 
before 3rd beat in 
-d
mark, it seems that the pedal encompasses the entire bar. 
