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Op. 28 No. 3, Prelude in G major

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 1

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

  in FCI

No signs in A (→FC→GE, →FE→EE)
..

It seems that the dynamic markings modelling the figuration were not accidentally overlooked by Chopin in A; it was rather a conscious decision related to the general change of concept of the Prelude – see the note on the tempo indication. Chopin would often cross out such marks in autographs, e.g. in the Scherzo in B Minor, Op. 31, b. 334-349.
The same applies to the markings in b. 3-4 and 7 and 9.

category imprint: Differences between sources

b. 3-13

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

  in FCI

No signs in A (→FC→GE, →FE→EE)
..

In FCI the pair of   hairpins in b. 3-4 defines a detail that was not marked in the final editing of the piece. When this phrase is repeated, it is accompanied only by a long accent at the beginning of b. 13.

category imprint: Differences between sources

b. 3-12

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

2 short accents in FCI

Short accent in A, probable interpretation (→FC→GE, →FE→EE)

Long accent in A, possible interpretation
..

It is unclear whether the accent in A was supposed to be long or short, according to Chopin. Both FC (→GE) and FE (→EE) interpreted it as short; a short accent is also in FCI (as well as in b. 12). In the main text we also favour a short accent – both the acceleration of the tempo of the Prelude and the shortening of the rhythmic value of this note are an argument for a short, purely dynamic accent.
In FE (→EE) the accent was placed under the stave, which is a routine revision, frequently used by editors both in times of Chopin and nowadays. In this case, it does not influence the meaning of the sign; we do not include this detail in our transcriptions.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Placement of markings

b. 7-9

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

Long accents in FCI

No marks in A (→FC→GE, →FE→EE)
..

FCI contains much more accents – in bars 7 and 9, as well as 12, 16-18, 20 and 22.

category imprint: Differences between sources

b. 16-17

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

Accents in FCI

No marks in A (→FC→GE, →FE→EE)
..

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