mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

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Pedalling

b. 27

composition: Op. 28 No. 16, Prelude in B♭ minor

 on d in A, literal reading

 on A in A, probable interpretation (→FC→GE, →FE→EE)
..

The position of the  mark in the middle of the bar is confusing in A – it is placed between the A and the d quavers. According to us, it is more likely that Chopin meant A, as it was actually interpreted both in FC (→GE) and FE (→EE). It is supported by the resemblance to b. 26, in which  is clearly under the 4th quaver in the bar, and by the preceding  asterisk having been placed before the 4th quaver in spite of no harmonic change.

category imprint: Graphic ambiguousness

issues: Inaccuracies in A

b. 31

composition: Op. 28 No. 16, Prelude in B♭ minor

3   pairs in A

4 pairs in FC (→GE)

No markings in FE1

3 pairs in FE2 (→EE)
..

In FC (→GE), Fontana wrote one pair of signs ( ) more than in A – most probably a mistake. The absence of pedalling in FE1 is undoubtedly an oversight by the engraver. The markings were added in FE2 (→EE), however, the notation of A was not exactly reproduced.

category imprint: Differences between sources

issues: Errors in FE , FE revisions , Fontana's revisions

b. 36

composition: Op. 28 No. 16, Prelude in B♭ minor

 in A

    w FC (→GE) & FE (→EE)

  [] suggested by the editors
..

The absence of a  must be Chopin's oversight (this bar is written in A at the end of the line, which promotes inaccuracies). In the main text we suggest adding the mark analogously to the 1st half of the bar, since the authenticity of the  mark added in FC (→GE) and FE (→EE) at the end of the bar is questionable.

category imprint: Differences between sources; Editorial revisions

issues: FE revisions , No pedal release mark , Fontana's revisions , Inaccuracies in A

b. 45

composition: Op. 28 No. 16, Prelude in B♭ minor

 after chord in A (→FE→EE)

under chord in FC (→GE)
..

The  asterisk is written in A clearly after the crotchet on the 4th beat of the bar, which seems to be a deliberate decision, since Chopin initially wrote it under the quaver ending the passage. In FC it is so close to the F-f octave that it seems that it is placed under it, which was reproduced as such in GE.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Inaccuracies in FC

b. 46

composition: Op. 28 No. 16, Prelude in B♭ minor

 under grace note in A, contextual interpretation

under chord in FC (→GE) & FE (→EE)
..

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