mUltimate Chopin

Op. 28 No. 13, Prelude in F♯ major

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b. 22

composition: Op. 28 No. 13, Prelude in F♯ major

c-g in A (→FE,FC→GE)

e-g in EE
..

The EE version is presumably a Terzverschreibung although it is possible that the engraver mistook the endings of the two halves of bar and put the 11th quaver here.

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error

b. 22

composition: Op. 28 No. 13, Prelude in F♯ major

G-g in A (→FC→GE) & FE2 (→EE)

A-a in FE1
..

The FE1 version is undoubtedly a mistake by the engraver, corrected in FE2 (→EE).

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 29

composition: Op. 28 No. 13, Prelude in F♯ major

..

Starting from e, 5 successive quavers in the 1st half of the bar were initially written in A an octave lower, as in the previous figure.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 29

composition: Op. 28 No. 13, Prelude in F♯ major

c in A (→FC,FE→EE)

A in GE
..

A in GE must be a mistake of the engraver of GE1, overlooked then by the revisers of GE2.

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error

b. 31

composition: Op. 28 No. 13, Prelude in F♯ major

..

In FES, at the end of the bar, one can see a poorly legible pencilled entry, probably performed by Chopin. The relatively distinct part of that entry consists of 4 notes; the stems of two point upwards, while of the other two – downwards. Together, they form a pair of dyads:  . The bottom notes are almost certainly f1, whereas the top ones are at a different pitch, yet both are on the 2nd space, which could result in a1-b1 or g1-a1 (g1-a1?). Indistinct traces of pencil can also be seen further, but we did not manage to identify them (they were removed?). We suggest the following reconstruction of the entry (in two versions); however, it should be mentioned that it is of a hypothetical nature:  or .
When the added small notes are performed as semiquavers – the first together with b in the L.H. – they refer to the semiquaver motifs in b. 22, 24, 25 and 37. 

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FES