Issues : FE revisions
b. 5
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composition: Op. 28 No. 6, Prelude in B minor
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Just like in the similar situations in b. 1 and 3, we believe that it is the top arm of the mark in A that is more reliable. In FC Fontana averaged the length of the mark, which is one of possible solutions. We consider the mark in GE, slightly shorter than in FC, to be compliant with our interpretation of A. The mark of FE, stretched out, so that it covers an entire bar (and inaccurately reproduced in EE), is most probably a revision. category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , EE inaccuracies , FE revisions |
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b. 5
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In A there is no accidental before the 1st note in the 4th group of demisemiquavers, which should therefore be interpreted as a1. A comparison with analogous b. 1 proves Chopin's mistake; it is also the before the next a2 that confirms a1 as the intended pitch of that note. The natural was added in FC and FE (→EE); however, it is absent in GE, which is probably an oversight of the engraver. category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: Errors in GE , Cautionary accidentals , Errors of A , FE revisions , Fontana's revisions |
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b. 5
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composition: Op. 28 No. 12, Prelude in G♯ minor category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
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b. 5
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composition: Op. 63 No. 1, Mazurka in B major
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In FE the mordent was placed under the d1-f1 third, which suggests that it concerns the bottom note, d1. It must be a mistake – cf. the text of AI and bars 13 and 73 – caused by a tendency to place marks, e.g. accents, staccato dots, slurs or certain ornaments ( and ) on the side of noteheads. In the case of ornaments and slurs, it can change their meaning, thus leading to a mistake, as is the case here (see also, e.g. the Polonaise in F minor, Op. 44, bar 10). category imprint: Differences between sources issues: Placement of markings , GE revisions , FE revisions |
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b. 7
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composition: Op. 28 No. 9, Prelude in E major
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When interpreted literally, the chord on the 3rd beat of the bar in A (→FC) consists of the following notes: F1-F-b-d1-f1, which, in turn, results in a G major chord (F major), which could be a part of this harmonic sequence. However, Chopin would generally avoid such an unnatural orthography; therefore, he most probably overlooked here the naturals lowering all f notes to f. They were added both in FE (→EE) and GE, and the composer did not question the printed naturals in any of the three teaching copies containing annotations coming from him. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Errors of A , FE revisions |