Issues : Annotations in FEJ
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b. 8
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composition: Op. 28 No. 9, Prelude in E major
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Like in the remaining places in which the dotted rhythm and a triplet are juxtaposed, in the main text we give the notation of A. FC reproduced it inaccurately, yet it kept the synchronization of semiquavers; in turn, the notation of the editions is contrary to the convention used by Chopin. Exceptionally in this bar, in FE b, the last semiquaver, comes into contact with the bottom-voice a (probably due to lack of space), which suggests that they are to be played simultaneously, and moreover, in two teaching copies, on the 2nd, 3rd and 4th beats, we can see added dashes indicating a simultaneous performance of the semiquaver with the last quaver of the triplet. Consequently, the notation of the last three beats of that bar is equivalent to the notation of FC in those copies. category imprint: Differences between sources; Source & stylistic information issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ , Dotted rhythms and triplets |
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b. 9
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composition: Op. 29, Impromptu in A♭ major
category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ |
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b. 9-13
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composition: Op. 25 No 9, Etude in G♭ major
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In GC (→GE1), FE and EE there are no naturals raising c category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Errors in EE , Errors in GE , GE revisions , Omission of current key accidentals , Annotations in FES , Annotations in FEJ |
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b. 9-10
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composition: Op. 28 No. 6, Prelude in B minor
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It is difficult to decipher the fingering of FES. In b. 9 under the d1 crotchet, there are two digits, one above the other, while the bottom one, '1', seems to be crossed out. Therefore, one could assume that the 'one', written first, was crossed out and replaced with a 'two'. However, according to us, such an interpretation is wrong – had the 'one' been written first, it would have been placed higher, closer to the note. Consequently, the apparent crossing-out is most probably a curved line indicating the change of fingers, as was the case with b. 1. In b. 10 the 1st digit could be interpreted as a '4', which, however, would be completely unjustified – cf. the fingering in the same source in analog. b. 2. A more accurate analysis of the entry reveals that it is most probably an awkwardly written '3', which results in a full compliance both with the entry in FEJ and the fingering in b. 2. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Source & stylistic information issues: Annotations in teaching copies , EE revisions , Differences in fingering , Annotations in FES , Annotations in FEJ |
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b. 10
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composition: Op. 29, Impromptu in A♭ major
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category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ |
to c in bars 9 and 13 and c
raising c
