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Issues : Fontana's revisions
b. 10-11
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composition: Op. 28 No. 4, Prelude in E minor
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The version of As, replaced then by the final edition of those motifs, resulted from corrections itself. Their traces in the form of crossings-out are almost invisible on the available photograph; however, a comparison with similarly looking corrections in b. 18-19 suggests that in both places Chopin began with similar ideas and then changed them in a similar manner. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes , Fontana's revisions |
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b. 11-19
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composition: Op. 28 No. 4, Prelude in E minor
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Both in b. 11 and 19, the grace notes in A (→FE→EE) are non-slashed, whereas in FC (→GE) – slashed. It is an inaccuracy that would often happen to Fontana-copyist, in this case almost certainly contrary to the intention of Chopin. The Chopinesque entries in FED equate the grace note and the crotchet with two quavers, which can be considered one of the performance possibilities of these motifs. We recommend a slightly shorter grace note, which could be written down as category imprint: Differences between sources; Source & stylistic information issues: Annotations in teaching copies , Annotations in FED , Non-slashed grace notes , Fontana's revisions |
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b. 16
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composition: Op. 28 No. 4, Prelude in E minor
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The range of the category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: EE revisions , Scope of dynamic hairpins , Errors in EE , FE revisions , Fontana's revisions , Inaccuracies in A |