mUltimate Chopin

Text Compare Notes Sources Description

Issues : Annotations in FESch

b. 1

composition: Op. 28 No. 11, Prelude in B major

Fingering written into #FESz

No teaching fingering
..

In the main text we include the fingering digit entered probably by Chopin into FESch.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 3

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering digit in FESch

No teaching fingering
..

In the main text we include the fingering entered into FESch, which could be coming from Chopin. Similar situations are in b. 6-7, 10, 12 and 15.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 6-7

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 10

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 11

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

..

In A (→FE,FC→GE1) there is no  raising d2 to d2. In the context of a similar move in b. 3, it is a patent oversight, corrected by the revisers of GE2 and EE. Sharps, coming from Chopin, were added in pencil in FED, FES and FESch; both sharps are also in CXI. On the basis of the poorly legible photocopy of CGS at the disposal of the editors of mUltimate Chopin, it is difficult to clearly interpret the notation of that source; however, it is most likely that they are two sharps.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , GE revisions , Errors of A , Annotations in FES , Annotations in FESch , Errors repeated in GE , Errors repeated in FE