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b. 39
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composition: Op. 45, Prelude in C♯ minor
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Different placements of the category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 39-50
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composition: Op. 45, Prelude in C♯ minor
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We preserve the layout of FE1, in which the slurs embracing the passages of the L.H. are over the notes, which certainly recreates the notation of [A1]. In FE2 and EE the slurs were moved under the notes, most probably due to graphic problems. Therefore, we can suppose that the slurs under the passages in GE also do not follow the authentic notation in [A2]. category imprint: Source & stylistic information issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 40-41
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composition: Op. 45, Prelude in C♯ minor
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According to the rule adopted in the main text, we give the hairpins category imprint: Differences between sources |
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b. 40-48
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composition: Op. 45, Prelude in C♯ minor
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The octave separated with longer rhythmic values in the middle of bars 40, 44 and 48 is written on one stem, which follows the notation of the octaves in similar figures in bar 8 and analogous. The notation of GE, suggesting that the octave is a quaver, is most probably an attempt to recreate the following notation of [A2]: category imprint: Differences between sources |
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b. 40
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composition: Op. 45, Prelude in C♯ minor
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In FE1 there is no category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Omission of current key accidentals , FE revisions |
in 
major chord as an alternative version. It will enable achieving a clear sound of the passage also on contemporary pianos.
in 
. In 
in front of the last quaver. As far as the melody is concerned, an f
2 would not be possible here, but taking into account analogous situations in bars 44 and 48 the omission of the accidental has to be considered the most likely version. Adequate additions were introduced into