Issues : Errors in CGS
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b. 12-13
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composition: Op. 28 No. 20, Prelude in C minor
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The position of the mark is not strictly determined in A due to the missing musical text in the abridged marking of this bar. We assume the only reasonable solution, adopted in FE (→EE). The mark was omitted in the remaining autographs and overlooked by the copyists. EE arbitrarily added a asterisk at the end of b. 13, almost certainly against the intention of Chopin – cf. the note to the Prelude No. 7 in A Major, b. 16. category imprint: Differences between sources issues: EE revisions , Errors of FC , Inaccuracies in A , Errors in CGS |
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b. 13-15
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composition: Op. 28 No. 4, Prelude in E minor
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In b. 15, at the end of the line, Fontana ambiguously ended the slur in FC – the slur goes quite far beyond the last written-down chord, which could suggest a continuation, yet it does not even reach the end of the line, which suggests that the slur should end. As the ending of the slur was overlooked on a new line, in GE the slur was led only to the last written-down chord – the minim (with a quaver tremolo marking) at the beginning of the 2nd half of the bar. The missing slur in CGS is an oversight of the copyist, who overlooked the majority of the L.H. slurs in the second half of the Prelude. The fact that she wrote the final fragment of that slur, encompassing b. 16, is an unquestionable evidence of distraction. See also b. 17-23. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FC , Errors in CGS |
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b. 15-16
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composition: Op. 28 No. 7, Prelude in A major
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The missing tie of the a1 minim is a mistake both in EE1 and CGS. The error of EE1 was corrected in EE2 on the basis of the Stichvorlage (FE2) or GE1. category imprint: Differences between sources issues: EE revisions , Errors in EE , Errors in CGS |
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b. 16-19
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composition: Op. 28 No. 4, Prelude in E minor
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In the notation of A it is not entirely clear where Chopin wanted to begin stretto or how far the dashes marking its range are supposed to reach. Therefore, it comes as no surprise that the remaining sources reproduce those details differently, which we consider inaccuracies, with the exception of the version of GE, in which the dashes are led as far as to the beginning of b. 19, which is clearly contrary to the notation of FC. In the main text we assume that stretto is to be combined rather with g2 than a1 and that the dashes reach f1 in b. 18. The major divergence from the Chopinesque notation is to be seen in CGS, in which stretto is written in the middle of the 1st half of b. 16 and the dashes only just in the 2nd half of b. 17, as a result of which it is actually unclear how they are to be considered jointly (in that copy, just like in FE, the entire indication is placed between the staves). It was probably caused by lack of space between the staves. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , EE inaccuracies , Inaccuracies in FC , Inaccuracies in A , Errors in CGS |
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b. 17
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composition: Op. 28 No. 4, Prelude in E minor
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The slur in A, written still before the topmost notes of the chords on the 2nd, 3rd and 4th quavers had been added, clearly starts from the 2nd quaver. In FC, although the copyist almost certainly wanted to accurately reproduce the notation of A, the beginning of the slur falls almost over the 1st quaver, which confused the engraver of GE. The missing slur in CGS is an oversight of the copyist, as was the case with the previous slur in b. 13-16. category imprint: Differences between sources issues: Inaccuracies in FC , Errors in CGS |
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