mUltimate Chopin

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Issues : Fontana's revisions

b. 14-21

composition: Op. 28 No. 8, Prelude in F♯ minor

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As was the case in b. 3-4, in A Chopin generally omits accidentals next to the bass quavers if the accidentals have been written an octave higher next to one of the preceding semiquavers. In the discussed bars, it concerns G in b. 14, B in b. 15-18, f in b. 20 and g in b. 21. That notation was literally repeated in FE; FC repeated it almost without changes (the only addition was a  next to B in b. 16). EE1 added the majority of the necessary accidentals – all except for the  of G in b. 14, while the remaining editions contain a fully correct notation.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 14

composition: Op. 28 No. 14, Prelude in E♭ minor

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In A (→FE) there is no  restoring B at the beginning of the 2nd half of the bar (however, a corresponding accidental is featured in the R.H. part). The flat was added in FC (→GE) and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Fontana's revisions , Inaccuracies in A

b. 14

composition: Op. 28 No. 23, Prelude in F major

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There is no  raising b3 to b3 in A (→FE). The obvious inaccuracy was corrected in FC (→GE) and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 15-32

composition: Op. 28 No. 5, Prelude in D major

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In A Chopin applied signs indicating a repetition of the preceding figure to mark b. 15 and the L.H. part in b. 32. In FC Fontana also used an abbreviation to mark b. 16 (which resulted in a mistake) and the R.H. part in b. 32.

category imprint: Differences between sources; Source & stylistic information

issues: Abbreviated notation of A , Fontana's revisions

b. 15

composition: Op. 28 No. 7, Prelude in A major

Unslashed grace note in A (→FE→EE) & CGS

Slashed grace note in FC (→GE)
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Replacing non-slashed grace notes – small quavers – by slashed ones is one of the mannerisms of Fontana as a copyist. As Chopin did not strictly observe the difference between both types of grace notes, in this case both versions of notation have the same meaning.

category imprint: Differences between sources

issues: Notation of grace notes , Fontana's revisions