Issues : EE inaccuracies
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b. 2-32
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composition: Op. 28 No. 1, Prelude in C major
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In b. 2-17, 22 and 28-32, in which the R.H. figure begins from the rest and is encompassed with one slur, the starting point of those slurs in A is unclear. The vast majority of the slurs begin over or even before the initial rest (b. 4, 10, 13-15), hence only the slurs in b. 5 and 17 seem to concern the notes only. The notation does not indicate an intention to differentiate between the range of those slurs (the differences are accidental inaccuracies); therefore, we consider that all of them encompass an entire bar. This is the version we give in the main text. On the other hand, Chopin would often write slurs with a flourish; consequently, we cannot rule out that it was also here that he wanted the slurs to encompass the 5-semiquaver figures only. This is how it was reproduced by Fontana in his copy, which was then repeated in GE. In turn, the notation of FE poses an analogous interpretative issue to the one in A – admittedly, the majority of the slurs begin over the rest (the ones in b. 28-32 even before), but the general picture is unclear, since the endings of those slurs also go far beyond the last semiquaver, which, of course, does not mean that they are supposed to reach further. In EE, based on FE, the slurs encompass the semiquavers only. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , EE inaccuracies , Inaccuracies in FC |
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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 |
