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b. 16-29
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composition: Op. 28 No. 3, Prelude in G major
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In both copies by Fontana, abridged notation was used in a few places to mark repeated L.H. semiquaver figurations (in b. 29 also in the R.H.) – in FCI in b. 16, 19-22 and 29, in FC in b. 16, 19-21 and 29. category imprint: Differences between sources issues: Fontana's revisions |
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b. 16-25
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composition: Op. 28 No. 3, Prelude in G major
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As was the case in b. 7 and 9, milder rhythms in the R.H. top voice can be observed in FCI in b. 16 and 20-21 (the last note is a quaver and not a semiquaver) as well as in b. 23 and 25 (the last note is a crotchet). A slightly different rhythm can also be seen in the 1st half of b. 17 – instead of a semiquaver accompanied by grace notes, FCI features a semiquaver triplet. They are almost certainly initial versions. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 16-17
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composition: Op. 28 No. 3, Prelude in G major
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In FCI there are no naturals lowering f category imprint: Interpretations within context; Differences between sources |
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b. 16-17
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composition: Op. 28 No. 3, Prelude in G major
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We consider the tie of b1 in FCI to be the initial version, just like the remaining elements that distinguish this copy from the version prepared for print – cf., e.g. b. 7-10 or 24. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 16-17
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composition: Op. 28 No. 3, Prelude in G major
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The accents at the beginning of these bars are an element of an earlier version of the performance indications of the Prelude, in which Chopin marked much more dynamic details than in the version prepared for print. A similar situation can be observed in b. 20 and 22. category imprint: Differences between sources |
2 to f2 in these bars. It must be an inaccuracy of notation – see the comment on b. 18-22.
