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b. 3-19
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composition: Op. 28 No. 2, Prelude in A minor
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Just like in b. 1-3, later in the Prelude, CGS consistently stuck to a different division into parts, indicating the R.H. to perform the topmost notes on the bottom stave. The only exception are b. 6-7, in which the smaller span of figuration makes it possible to be performed entirely by the L.H. category imprint: Differences between sources |
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b. 3-10
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composition: Op. 28 No. 2, Prelude in A minor
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In As the notation of the L.H. part is incomplete from this moment on – in b. 4-7 and 8-10 the notation is totally or partially lacking:
category imprint: Differences between sources; Corrections & alterations; Source & stylistic information |
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b. 5-10
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composition: Op. 28 No. 2, Prelude in A minor
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In EE the L.H. slur in b. 5 – the first in a new line – begins from the 1st quaver, although the slur in the previous bar suggests continuation. The inaccuracy was most probably a side effect of the slur in b. 5-7 having been moved under the notes (though otherwise justified, since the notation of FE is illogical here: the slur in b. 1-4 is led under the notes, whereas its continuation in b. 5-7 – above). Inconsistent slurs between lines are also present in FC and GE – slurs in the bars opening a new line (b. 6 and 10 in FC and 5 and 9 in GE) run from the 1st quaver of the bar, contrary to the notation at the end of the preceding lines. (We do not reproduce the inaccuracies of FC in our transcriptions due to a different division into great staves.) category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in GE , EE inaccuracies , Inaccuracies in FC , Uncertain slur continuation |
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b. 5-12
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composition: Op. 28 No. 2, Prelude in A minor
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As does not contain a single accidental in the R.H. part, in the entire piece (except for the final chords). In the case of the grace notes in b. 5 and 10, the missing sharps next to the grace notes seem to be obvious, although only on the assumption of a general compliance of the harmonic plan of the draft with the final version of the Prelude (accompaniment in these and adjacent bars is not even marked). In turn, the use of f category imprint: Interpretations within context; Differences between sources; Source & stylistic information |
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b. 5-20
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composition: Op. 28 No. 2, Prelude in A minor
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In the main text we give the grace notes in b. 5, 10, 17 and 20 in the form of non-slashed grace notes, in accordance with the notation of A (→FE→EE). However, in this context, it does not mean a performance that would be radically different from a common, slashed grace note, which is indicated by:
According to us, taking into account the tempo and character of the music and all the above factors, one can recommend the following rhythmic solution of this detail: category imprint: Differences between sources issues: Notation of grace notes , Fontana's revisions |
] in b. 9, which probably indicates a certain form of continuation of the figuration defined in previous bars, perhaps similar to the one featured in those bars in the final version.
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