



b. 12
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composition: Op. 28 No. 8, Prelude in F♯ minor
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category imprint: Differences between sources issues: Errors of FC |
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b. 12
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composition: Op. 28 No. 8, Prelude in F♯ minor
..
In A (→FC,FE) there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Inaccuracies in A , Errors repeated in FE |
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b. 12-16
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composition: Op. 28 No. 7, Prelude in A major
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In A (→FC) the last phrase mark of the Prelude also encompasses the final rest. It may be an inaccuracy, quite frequently encountered in Chopin's works, as it was interpreted in the editions; this is also the interpretation we give in the main text. However, it cannot be ruled out that such an ending of the phrase mark emphasizes the gradual dispersal of music, like the crossed-out pedal release mark. No division between the phrase marks in b. 14 in CXI can be explained by a misinterpretation of the Stichvorlage – the phrase marks of A are written with a flourish, which could have also been the case of the hypothetical manuscript that served as the Stichvorlage for CXI (Fontana committed a similar mistake in FC – see b. 6). The fact that the phrase mark was led to the end of b. 16, like in A (→FC), but unlike in the editions, is also noteworthy. category imprint: Differences between sources |
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b. 12
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composition: Op. 28 No. 9, Prelude in E major
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In GE the tie of B was erroneously reproduced as a motivic slur combining B-E. category imprint: Differences between sources issues: Errors in GE |
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b. 12
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composition: Op. 28 No. 9, Prelude in E major
..
The missing tie of b must be an oversight of the engraver of FE (→EE1). The absence of that tie in CGS is one of the arguments proving that the copy comes from FE. The tie in EE2 was most probably drawn from GE1. category imprint: Differences between sources issues: EE revisions , Errors in FE |