b. 45-46
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The mark is placed in A between the pair of the final chords, hence the fact that FE1 assigned it to b. 46 is formally justified – markings are not retroactive. However, it seems much more likely that Chopin applied here the manner of writing indications within the scope of their range, and the mark is supposed to concern both chords, as it was performed in FE2 (→EE). Cf., e.g. the Concerto in E Minor, Op. 11, 1st mov., b. 16. category imprint: Differences between sources issues: Inaccuracies in FE , FE revisions , Errors of FC , Centrally placed marks |
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b. 46
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The mark in A occupies an uncommonly large space – from the octave at the end of b. 45 to the crotchet rest in b. 46. The pianistic sense – increasing the span of the final chord – requires that the mark be placed under the grace note, which, however, was not performed in any of the remaining sources. In a similar situation in the ending of the Prelude No. 5 in D Major, Chopin wrote clearly under the grace note. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccuracies in FC , Inaccuracies in A |
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b. 46
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The omission of the mark at the end of the Prelude is quite frequently encountered in Chopin's pieces and almost certainly not accidental – cf. the ending of the Prelude No. 7 in A Major. The mark added in EE is therefore certainly inauthentic and inconsistent with Chopin's intention. category imprint: Differences between sources issues: EE revisions , No pedal release mark |
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b. 46
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composition: Op. 28 No. 16, Prelude in B♭ minor
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Further simplified forms of the grace note in FE and EE1 must be mistakes of the engravers. The revision of EE2 was based on a comparison with GE1. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in EE |