|
b. 4
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
The change of quavers to semiquavers introduced by EE is right, as far as the rules of rhythmic notation are concerned. However, according to Chopin, the seemingly wrong original notation was most probably aimed at a calm, slightly slower performance of this figure. The same applies to b. 23. category imprint: Differences between sources issues: EE revisions |
|||||||
|
b. 4
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
In the main text we omit the additional slur being a part of the marking of the irregular group – cf. General Editorial Principles, p. 16. The same applies to b. 23 and 79. category imprint: Editorial revisions issues: Triplet slurs |
|||||||
|
b. 4-5
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
The continuous phrase mark of FC (→GE) is a mistake of the copyist – the phrase marks in A are clearly separated, and their shape does not indicate that they should be combined. In FE b. 4 ends a line, while the phrase mark in b. 4 suggests that it should be continued, which, generally, is not confirmed by the phrase mark in b. 5 (cf. the beginning of the next line in FE). Considered as a whole, however, the notation of FE may be misleading, which explains the presence of a continuous phrase mark in EE. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Errors of FC |
|||||||
|
b. 4
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
In EE the minim c1 is mistakenly dotted. category imprint: Interpretations within context; Differences between sources issues: Errors in EE |
|||||||
|
b. 5
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
In A the penultimate quaver in the bar was initially a d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
Minor, b. 73 and No. 2 in E
