Main text
Main text
As - Autograph sketch
A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 12

Grace note written into FEJ

No grace note in remaining sources

As a whole, the entry in FEJ is difficult to interpret. The part written on the stave creates a quite distinct, small, slashed f1 or g1 quaver. The context speaks strongly in favour of f1 – a repetition of a note in the form of a grace note, preceding a larger interval upwards (most often an octave), is often to be found in pieces by Chopin, cf., e.g. the Polonaise in E Major, Op. 22, b. 56, Bolero in A Minor, Op. 19, b. 160 or Scherzo in B Minor, Op. 31, b. 302. In such a context, the grace note generally facilitates the performance by enabling a change of finger, in the discussed place of the Prelude from 3 to 1 or 2. The version with the grace note can be considered an equal variant with respect to the main text.

As far as the marks added below the stave are concerned, they can be seen as, e.g. a diagonal cross (often encountered in teaching copies), a very stooped , alternatively a digit '1' (the 1st finger on the added grace note) and a slur. We consider the latter to be most likely, hence we include it in the transcription of the text of FEJ.

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies, Authentic post-publication changes and variants, Annotations in FEJ

notation: Ornaments

Go to the music

.