mUltimate Chopin

Op. 28 No. 2, Prelude in A minor

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Ornaments

b. 5-20

composition: Op. 28 No. 2, Prelude in A minor

4 unslashed grace notes in As, A (→FE→EE) & CGS

4 slashed grace notes in FC (→GE)

Different grace notes in FES
..

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:

  • the correction of rhythm in b. 10 visible in As, in which Chopin replaced the initially written 2 semiquavers with a grace note and a quaver;
  • the grace notes in b. 17 and 20 in FES having been slashed, probably by Chopin, most probably in order to correct the wrong, too lengthy performance;
  • the notation of grace notes by Chopin, not always precise; he would sometimes use them interchangeably, not being concerned about a possible difference between the performance of slashed and non-slashed grace notes (cf., e.g. the Polonaise in C Minor, Op. 26 No. 1, b. 11 and 36).

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

b. 22

composition: Op. 28 No. 2, Prelude in A minor

Arpeggio sign in A (→FC→GE) & EE2

No sign in FE (→EE1) & CGS
..

The missing arpeggio sign must be an oversight of the engraver of FE (→EE1). The omission of the sign in CGS suggests that the copy was prepared on the basis of FE. The revision of EE2 was probably based on GE.

category imprint: Differences between sources

issues: Errors in FE