mUltimate Chopin

Op. 28 No. 3, Prelude in G major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 9

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

..

In A (→FE1) there is no  raising c1 to c1 at the beginning of the 2nd group of semiquavers. That patent oversight of Chopin was corrected by Fontana in FC (→GE) and FE2 (EE). The accidental is also in FCI.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 11

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

No rest in FCI

Rest in A (→FC→GE, →FE→EE)
..

As was the case in b. 3-6, the version of FCI – almost certainly earlier – does not separate the final c2-d2 second with a rest. Cf. also b. 7-10.

category imprint: Differences between sources; Corrections & alterations

b. 11

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

in FCI

No marking in A (→FC→GE, →FE→EE)
..

 can be understood here as valid until poco cresc. in b. 15 or, which seems more likely, as concerning this bar only or even this motif only.

category imprint: Differences between sources

b. 12

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

Slur in FCI

No slur in A (→FC→GE, →FE→EE)
..

In the final version the slur of FCI lost its sense due to the individual elements of the phrase having been separated with rests.

category imprint: Differences between sources; Corrections & alterations

b. 14

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

Long accent in FCI, literal reading

 in FCI (contextual interpretation) & GE2 (→GE3)

No sign in A (→FC→GE1, →FE→EE)
..

It is unclear how to interpret the  mark in FCI. Due to the abridged notation of the L.H. part and the manner of writing semibreves more or less in the middle of the bar, it can be considered both a whole-bar  hairpin (the mark begins under the d2-b2 sixth, i.e. at the beginning of the bar, and ends close to the end of the bar) and a long accent (it has the right length and position with respect to the sixth). Actually, a similar problem can be observed already in analogous b. 5, in which, however, we consider the mark written in A as a hint on how to resolve this doubt. In the discussed bar we give both possibilities, since the absence of the mark in A does not allow us to directly support any of them; moreover, the mark in FCI is slightly shorter than the one in b. 5.
GE2 added a whole-bar  hairpin, certainly by analogy to b. 5.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Long accents , GE revisions