mUltimate Chopin

Op. 28 No. 1, Prelude in C major

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Issues : GE revisions

b. 1

composition: Op. 28 No. 1, Prelude in C major

in A (→FC,FE →EE)

in GE
..

It is difficult to explain the origin of the version of GE –  in FC is clear, which practically excludes misinterpretation; moreover, there is no reason why the engraver or reviser would have needed to change that indication (Chopin did not participate in the creation of GE). Chopin would generally use mezza voce to determine the grade of dynamics between   and , usually written down as m.v. The uncommon indication  was written in A in a similar manner, i.e. as m.f., which we reproduce only in the graphical transcription (the version "transcription"). 

category imprint: Differences between sources

issues: GE revisions

b. 14

composition: Op. 28 No. 1, Prelude in C major

Slur in A (→FE→EE) & GE2 (→GE3)

No slur in FC (→GE1)
..

The absence of a slur in FC (→GE1) is undoubtedly an oversight by the copyist, complemented in GE2 (→GE3).

category imprint: Differences between sources

issues: GE revisions , Errors of FC

b. 18-26

composition: Op. 28 No. 1, Prelude in C major

Quintuplets in A (→FC→GE1, →FE→EE)

Triplets in GE2 (→GE3)
..

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

b. 21-27

composition: Op. 28 No. 1, Prelude in C major

Half-bar slurs in A (→FC→GE1)

Whole-bar slurs in FE

5-semiquaver slurs in EE & GE2 (→GE3)
..

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

b. 26

composition: Op. 28 No. 1, Prelude in C major

..

Fontana overlooked in FC (→GE1) the beam for the bottom R.H. voice. GE2 corrected the mistake.

category imprint: Differences between sources

issues: GE revisions , Errors of FC