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b. 17-20
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composition: Op. 28 No. 1, Prelude in C major
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The absence of the indication stretto - - - is almost certainly an oversight by the copyist in FC (→GE). See also bar 21 and 22-23. category imprint: Differences between sources issues: Errors of FC |
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b. 18-26
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composition: Op. 28 No. 1, Prelude in C major
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One can only guess what the motivation of the reviser of GE2 was at the time of arbitrarily changing the R.H. rhythm in all bars in which Chopin wrote quintuplets (b. 18-20, 23 and 25-26). After all, there are no doubts that the change, introduced many years after Chopin's death, does not come from the composer. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , GE revisions , Deletions in A |
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b. 21
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composition: Op. 28 No. 1, Prelude in C major
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Taking into consideration the fact that the melodic climax of the phrase that begins in b. 9 occurs in b. 21, one can ponder whether Chopin did not lead the dashes marking the range of cresc. and stretto one bar too far. The possible mistake could have been caused by the layout – in A b. 21 closes the line, which suggests an end of a certain section or process. On the available recordings of the Prelude, the vast majority of pianists do not continue either crescendo or stretto in b. 21. In the main text we leave the version of A (→FE→EE), since it is irrefutable, as far as the sources are concerned; moreover, according to us, stylistic criteria concerning performance indications, even supported by statistically prevailing performance practice, do not authorize us to directly intervene in the source text. category imprint: Source & stylistic information issues: Inaccuracies in A |
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b. 21-27
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composition: Op. 28 No. 1, Prelude in C major
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In b. 21, 24 and 27 Chopin provides the R.H. figures with two "triplet" slurs in A (→FC→GE1), most probably to emphasize the return of the principal rhythmic scheme after the groups of bars featuring quintuplets. It is unclear whether the whole-bar slurs of FE (reproduced in EE as 5-semiquaver slurs) result from the engraver's distraction or whether they were changed intentionally (to make one's work easier?). Five-semiquaver slurs were also introduced in GE2, which was a logical consequence of standardization of the R.H. rhythm in the entire Prelude. category imprint: Differences between sources issues: GE revisions , EE inaccuracies , FE revisions |
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b. 22-23
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composition: Op. 28 No. 1, Prelude in C major
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The range of cresc. having been extended until the very end of b. 23 in FC (→GE) is a mistake of the copyist, who led the dashes marking its range to the end of the line, just like in A; however, he did not realize that the end of the line is placed differently in each of the manuscripts – in A in b. 21, whereas in FC – in b. 23. category imprint: Differences between sources issues: Errors of FC |
