mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ 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. 14

composition: Op. 28 No. 15, Prelude in D♭ major

Fingering written into FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 15-16

composition: Op. 28 No. 15, Prelude in D♭ major

Fingering written into FED

Fingering written into FES

No teaching fingering

Our variant suggestion
..

In the main text we combine the complementary or compliant fingering versions of FED and FES. Some of the entries of FED are not obvious – in the interpretation we adopted we include both the shape of the very marks and the pianistic naturalness of the fingering they describe. Wherever the fingering versions entered into both copies differ, we give both versions in a variant form (the last quaver in b. 15).

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FES

b. 15

composition: Op. 28 No. 15, Prelude in D♭ major

Fingering written into FES

No teaching fingering
..

The 3rd finger on d2 indicated in FES can be seamlessly combined with the fingering in the further part of this bar, in which the entries of FED and FES are highly compliant – see the next note. However, the fingering written in the previous bar in FED indicates that it is the 2nd finger that should be used on that note, which is even clearer in b. 16-17. However, since the 2nd finger was not explicitly indicated and since the 3rd finger can also be easily combined with the previous fingering, we include it in the main text.
NB: There is a small, diagonal line over the discussed note in FED; it resembles a 1. As was the case with b. 4, one can have doubts whether it is actually a fingering digit, since if we assume the default legato articulation, the 1st finger (contrary to the entry in FES) would hamper natural phrasing here.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Annotations in FES

b. 15

composition: Op. 28 No. 15, Prelude in D♭ major

..

In A the grupetto was initially written with a conventional  mark.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 15-16

composition: Op. 28 No. 15, Prelude in D♭ major

Slur to bar 16 in A (→FE→EE)

Slur to end of bar 15 in FC (→GE)
..

The phrase marks in A are definitely separated after the 1st note in b. 16, as it was 4 bars before. However, the notation may be misleading – the final part of the phrase mark, over b. 15, is very poorly visible (due to low ink levels), while the new phrase mark in b. 16 starts very flat. Consequently, the correct interpretation of notation requires a careful analysis thereof, and Fontana, who was in haste, could have misjudged the moment the phrase marks were divided.

category imprint: Differences between sources

issues: Inaccurate slurs in A , Errors of FC