mUltimate Chopin

Op. 28 No. 14, Prelude in E♭ minor

Text Compare Notes Sources Description

Issues : Inaccuracies in FE

b. 1-2

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

Asymmetric     in bar 1 in A, literal reading

Asymmetric     in bars 1-2 in A, contextual interpretation

Symmetric   in bar 1 in FC (literal reading→GE)

Symmetric   in bars 1-2 in FC, contextual interpretation
..

The   hairpins are of different length in A, which we reproduce in the main text. Both Fontana in FC (→GE) and the engraver of FE (→EE) considered it an inaccuracy and inserted symmetrical, half-bar marks. Moreover, including those marks in b. 2 (written in an abridged manner with •/• marks, which mean that b. 1 should be repeated) is an issue. According to us, it would be opportune to repeat those marks, as it was performed in FE (→EE), since they are an integral part of the sonic shape of this figuration. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Inaccuracies in FC

b. 8

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

  in A (→FC→GE)

  in FE (→EE)
..

In A the direction of the 2nd dynamic hairpin is unclear – the mark could be described as a  with an additional, shorter arm, which constitutes an angle typical of  marks. According to us, the length of that additional arm points to its accidental nature, and the mark should be interpreted as diminuendo. This is how it was interpreted by Fontana in FC (→GE). The  hairpin in FE is not so much a consequence of the ambiguity described above as a result of a mistake or a revision, which is suggested by a similar range of marks (in that edition) in this and adjacent bars. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccuracies in A