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Op. 45, Prelude in C♯ minor

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b. 6-7

composition: Op. 45, Prelude in C♯ minor

Two  signs in FE (→EE)

Possible interpretation of FE1

GE

Our variant suggestion
..

In the main text we suggest a variant solution that takes into account both the version of GE and that of FE (→EE). The two   marks that can be seen in FE1 (→FE2, EE) could correspond to one longer mark in the autograph, as in Chopin's times publishers used to replace a single hairpin mark   with two marks when it had to be divided because of a new line of text. For that reason we also propose an alternative version with such an interpretation of the marks. Due to differences in sources and clear analogies in the structure of motifs, the same problem also appears in ten other similar places in the Prelude (on this page in bars 10-11 and 20-21).

category imprint: Differences between sources

issues: Hairpins denoting continuation

b. 6-21

composition: Op. 45, Prelude in C♯ minor

..

In GE, whole notes constituting part of chords that also contain notes of different rhythmic values are placed close to the middle of the bar, more or less above the 4th quaver of the L.H. Such notation, characteristic for Chopin's autographs, has long gone out of use. In FE, the tendency to graphically separate whole notes is much less pronounced, while EE's notation is close to contemporary practice. 

category imprint: Source & stylistic information

b. 6-20

composition: Op. 45, Prelude in C♯ minor

Notation in FE (→EE)

GE
..

For the octave occurring in the middle of bars 6, 10 and 20 we adopt the two-part notation of GE, corresponding to the notation of bar 8 and analog., as our main text. The notation of FE (→EE), economical to the maximum, is very Chopin-like in its simplicity and therefore definitely authentic, yet probably earlier (cf. the note concerning bar 26).

category imprint: Differences between sources

b. 8-22

composition: Op. 45, Prelude in C♯ minor

 in FE (→EE) & GE

Our variant suggestion
..

The moment of pedal depression at the transition between bars 8-9 and analogous bars is not marked in the uniform manner in the sources –  appears at the beginning of bars 9 and 13, but at the end of bar 22. Similar differences occur further on in the text as well. Even if we assume that this was the result of inaccurately notating or reading autographs, it is difficult to determine without seeing those autographs which notation complies with Chopin's intentions  As in each one of those places both versions make sense, in the main text we propose the variant solution everywhere, in which the mark without brackets indicates the version that is recommended from the practical point of view. 

category imprint: Interpretations within context; Editorial revisions

b. 8-22

composition: Op. 45, Prelude in C♯ minor

Rhythmic notation in FE1

FE2

GE

EE
 

Our suggestion
..

In the main text we unify the notation of the 2nd part of bars 8, 12 and 22 in line with the notation of FE1 in bar 8 and GE in bar 22 that is definitely correct and precise. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE