mUltimate Chopin

Op. 28 No. 14, Prelude in E♭ minor

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b. 16-19

composition: Op. 28 No. 14, Prelude in E♭ minor

2 signs in bars 16-19 in A

2 signs in bars 16-17 in FC (→GE)

1 sign in bars 16-19 in FE (→EE)
..

In A b. 16 ends a line, while the  hairpin ends quite clearly beyond the bar line. Perhaps this was the reason it was combined with the mark in b. 17-19, which resulted in one long . According to us, such an interpretation is unjustified, since in two previous lines the hairpins in A also go beyond the bar line, which is almost certainly merely an inaccuracy (cf. also the inaccurate, overlapping marks in b. 5-6 and 9). Therefore, in the main text we keep the separate marks, particularly since the latter begins only just on the 2nd beat of b. 17. It was also Fontana that did not reproduce the notation of A correctly, since he started writing the mark in b. 17 already at the beginning of the bar, but did not write its ending in b. 18-19.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , FE revisions , Errors of FC , Inaccuracies in FC

b. 19

composition: Op. 28 No. 14, Prelude in E♭ minor

Staccato dot in A

No mark in FC (→GE) & FE (→EE)
..

The staccato dot, quite distinct in A, was overlooked both in FC (→GE) and FE (→EE), perhaps due to its placement, since it was quite high above the note, on the bottom line of the top stave.

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 19

composition: Op. 28 No. 14, Prelude in E♭ minor

..

In A one can see that the last L.H. note was initially E, hence the octave gap between the parts of both hands was preserved until the very end of the Prelude.

category imprint: Corrections & alterations; Source & stylistic information

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