Issues : FE revisions
b. 36-38
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composition: Op. 28 No. 15, Prelude in D♭ major
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In FE1 the crotchets in the middle R.H. voice are placed between subsequent quavers in the top voice, closer to the previous than to the next one, with which they are to be played. It can result in doubts as to the synchronization of both voices:
In FE2 the R.H. crotchets were moved so that they clearly combine with the following, uneven quavers. We do not reproduce this difference in our transcriptions (it does not influence the sound if read carefully). category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in FE , FE revisions |
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b. 57-59
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composition: Op. 28 No. 15, Prelude in D♭ major
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The phrase mark written in A under b. 48-58 reaches more or less the middle of the last bar (those bars are only signalized and do not contain notes). Having taken into account the contents of that bar, we get a phrase mark reaching the D-d octave. However, one can have doubts whether it was indeed Chopin's intention. It cannot be ruled out that the composer did not confront the phrase mark with the actual text of the L.H. part and simply repeated the mark from the homogeneous R.H. part. Therefore, in the main text we suggest a phrase mark reaching b. 59, which is compliant with the notation of analogous b. 41-43. When interpreted literally, the phrase mark of A may be considered a variant, whereas the even shorter phrase mark of FC (→GE) is a repetition of the erroneous, incomplete phrase mark of those sources in analogous b. 41-43. category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A , FE revisions |
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b. 70
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composition: Op. 28 No. 15, Prelude in D♭ major
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The version of A (→FC→GE1) may seem erroneous:
However, each of the above arguments can be countered:
Therefore, to the main text we adopt the version with very distinct d1 written by Chopin. The version featuring e1 appears only in the sources of uncertain authenticity (FE and GE2), but it was initially also in A; moreover, the absence of corrections in the teaching copies proves that it was accepted by Chopin during lessons. Therefore, it can be considered an equivalent variant. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , GE revisions , FE revisions |
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b. 81-83
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composition: Op. 28 No. 15, Prelude in D♭ major
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The release of the pedal indicated at the beginning of b. 81 was not marked in A. It could have been intended by Chopin, since wherever a gradual pedal release sounds good, Chopin would often forgo the mark (cf., e.g. the Waltz in C Minor, Op. 64 No. 1, b. 15 or the Concerto in F Minor, Op. 21, 3rd mov., b. 117-120). On the other hand, the likelihood of an oversight of is quite high due to the layout of A – the next pedalling marking and b. 83, which precedes it, are in the next line, which promotes various inaccuracies. In practice, the pedal could be released both analogously to b. 77, hence before the 4th beat of the bar, and at the end of b. 83. The latter actually does not require any further additions, hence the two [] marks in b. 81 and 83 suggested in the main text indicate, respectively, the shortest and longest possible pedal, not naturally resulting from the Chopinesque notation. category imprint: Differences between sources issues: FE revisions , No pedal release mark |