mUltimate Chopin

Op. 28 No. 3, Prelude in G major

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b. 7-9

composition: Op. 28 No. 3, Prelude in G major

No fingering in FCI & A (→FC→GE, →FE)

Fingering in EE
..

Nothing indicates that the fingering of EE could be authentic. What is more, a mistake was most probably committed in b. 8 – in the middle of the bar, the b-a notes should be, apparently, played with the fingers 2-1, as they were in the previous bar, in an analogous place. In the copied fingering, it is, however, impossible to reach d at the beginning of the 4th group without crossing the fingers, which should have been marked.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 7

composition: Op. 28 No. 3, Prelude in G major

No arpeggio sign in FCI & A (→FE,FC→GE)

Arpeggio sign in EE
..

Arpeggio in EE resulted from a mistake of the engraver of EE1, who placed it in b. 7 instead of b. 8.

category imprint: Differences between sources

issues: Errors in EE

b. 7-10

composition: Op. 28 No. 3, Prelude in G major

..

An earlier version of slurring linked to the initial rhythm – see the note on rhythm. It is also there that we discuss the mistakes in the reproduction of the slurs of A, committed both in FC (→GE) and FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Errors of FC

b. 8-11

composition: Op. 28 No. 3, Prelude in G major

..

In b. 8, 10 and 11, one can see in A crossings-out in the L.H. part, which was initially written an octave higher. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 9

composition: Op. 28 No. 3, Prelude in G major

..

Chopin most probably changed in A the rhythm of the R.H. top voice. Initially, the f2 minim was provided with two dots only, while e2 was a quaver, which was changed by an additional third dot next to the minim and an additional second flag to the quaver. It is indicated by:

  • the fact that the e2 semiquaver was placed exactly above the penultimate L.H. semiquaver;
  • the difference in the notation of the dots prolonging the f2 minim – the third one is placed higher than the previous ones and is smaller, which means that it was entered at a different time.

We observe an earlier version of rhythm in FCI both here and in b. 7. Could a similar correction take place in A also in that bar? It is difficult to say – the notation neither excludes nor confirms such a possibility.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A