mUltimate Chopin

Op. 28 No. 13, Prelude in F♯ major

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b. 14

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

d2 tied in A (→FC,FE→EE) & GE2 (→GE3)

d2 repeated in GE1
..

The missing tie to d2 must be an oversight of the engraver of GE1, corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 14

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

..

In A (→FC→GE) the e1-a1 fourth is a minim without dots. It must be Chopin's oversight – cf. analogous b. 30 and similar b. 10, 13, 16, 29 and 32. Therefore, in the main text we include the addition introduced most probably by Fontana into FE (→EE).

category imprint: Interpretations within context; Differences between sources

issues: FE revisions , Inaccuracies in A

b. 17-19

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

..

The e1 semibreves in b. 17 and 19 fill entire bars in A – they are dotted and, in accordance with the Chopinesque habit, placed close to the middle of the bar (cf., e.g. the Prelude No. 15 in D Major, b. 84-85). In FC (→GE) the latter is not provided with a dot, while in GE – both are not. It is Fontana's oversight and a standardizing revision or another oversight in GE.

category imprint: Differences between sources

issues: GE revisions , Inaccuracies in FC

b. 21

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

..

The crossing-out visible in A allows us to decipher the initial version of the last beat of the bar – it was b1, repeated in the following rhythm: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 25

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

g1 tied in A (→FC,FE)

g1 repeated in GE & EE
..

It is difficult to say what could have provoked an unrelated oversight of the tie to g1 in the 1st half of the bar in GE (based on FC) and EE (based on FE).

category imprint: Differences between sources

issues: Errors in EE , Errors in GE