mUltimate Chopin

Op. 28 No. 13, Prelude in F♯ major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 14-16

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

Continuous slur in A

Slurs separated in bars 15-16 in FC (→GE)

Slurs separated in bars 14-15 in FE (→EE)
..

In A the phrase mark in b. 15, which opens a new line, is ambiguous – it starts over the 1st chord, but its shape indicates that it should be a continuation. The ending of the phrase mark in b. 14, dragged far beyond the bar line, is an argument for a continuous phrase mark, which we give in the main text. Therefore, we consider the division of the phrase mark in FE (→EE) to be an erroneous interpretation of A. In turn, in FC Fontana reproduced the continuous phrase mark in b. 14-15 correctly, but he marked its continuation between b. 15 and 16 very inaccurately (b. 16 opens a new line in FC), hence the version of A cannot be guessed on this basis. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A , Errors of FC , Uncertain slur continuation

b. 16

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

..

The inaccurately written (too low) 1st quaver in the 2nd half of the bar looks like F in A, and it was reproduced as such in FC (→GE1). The fact that Chopin must have meant G is evidenced both by the harmonic context (confirmed by analogous b. 32) and the common Chopinesque manner of writing notes under the 1st line clearly lower and so that they do not touch the line. The mistake of GE1 was corrected in GE2 (→GE3). 

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Inaccurate note pitch in A , Errors repeated in GE

b. 17

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

..

We add a cautionary  before e1 in the main text.

category imprint: Editorial revisions

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. 18-20

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

..

The crossing-out visible in A before the 8th quaver in b. 18 covers probably a  (cautionary?) intended for e. Chopin realized that the accidental was not necessary here, yet in the next bars he would still write and cross out sharps before e notes, e.g. before E at the end of b. 20.

category imprint: Source & stylistic information

issues: Deletions in A , Last key signature sign