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Issues : Fontana's revisions
b. 14-21
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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 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 |
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b. 14
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composition: Op. 28 No. 14, Prelude in E♭ minor
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In A (→FE) there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Fontana's revisions , Inaccuracies in A |
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b. 14
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composition: Op. 28 No. 23, Prelude in F major
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There is no 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 |
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b. 15-32
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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 |
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b. 15
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composition: Op. 28 No. 7, Prelude in A major
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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 |