b.
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A (→FC,FE) there are no accidentals before the 13th and the 15th semiquavers. As the previous accidentals (in this case the before a2) were then often considered to alter also the notes at the same pitch under an octave sign, it was necessary to determine whether the 4th group of semiquavers contains a3 or a3. The melodic and harmonic context as well as a comparison with similar b. 23 indicate that it should be a3 (twice), hence we add a before the 13th semiquaver, as it was performed in EE. The version of GE, acceptable in terms of sound, is almost certainly inauthentic, since it is difficult to assume that Chopin would not have marked the return of a3 two notes apart. category imprint: |
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b. 1
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The change of time signature in FE probably resulted from the engraver's inattention. In Chopin's pieces, it was common that engravers did not differentiate between and , see the Prelude No. 14 in E Minor. category imprint: Differences between sources issues: Errors in FE , 4/4 or 2/2 |
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b. 1
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In this bar Fontana overlooked all performance indications except the slur, i.e. , pedalling markings, accents and the staccato dot in the bass. category imprint: Differences between sources issues: Errors of FC |
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b. 1
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composition: Op. 28 No. 16, Prelude in B♭ minor
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Fontana overlooked the pedalling markings (as well as almost all performance indications in this bar). category imprint: Differences between sources issues: Errors of FC |
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b. 1
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The missing staccato dot is an oversight of the copyist and the engraver of EE. category imprint: Differences between sources issues: Errors in EE , Errors of FC |