mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

Text Compare Notes Sources Description

Issues : Errors of FC

b. 12-14

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

4 slurs in A (→FE,FC→GE) & EE2

1 slur in EE1
..

The missing slur running from the last L.H. quaver in b. 12 and two subsequent ones in b. 13-14 in EE is a patent mistake of the engraver of that edition.
In FC the beginning of the first of those slurs is missing, which – at least theoretically – results in an ambiguity, as far as the presence or range of that slur is concerned, since the next bar is marked in the manuscripts in an abridged manner as a repetition of b. 12. We assume – like GE, based on FC – that the slur at the beginning of b. 13 is to be taken into account, in its full range, which means that it should also encompass the last quaver in b. 12. 

category imprint: Differences between sources

issues: EE revisions , Errors in EE , GE revisions , Errors of FC

b. 14

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

in A

No sign in FC (→GE)

Longer  in FE (→EE)
..

The missing  hairpin in FC (→GE) resulted from an oversight of the copyist. In FE (→EE) the mark is longer due to it having been adjusted to the 2nd half of the bar.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors of FC

b. 17

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

Arpeggio sign in A (→FE→EE)

No sign in FC (→GE)
..

The missing arpeggio is most probably an oversight of the copyist.

category imprint: Differences between sources

issues: Errors of FC

b. 18-21

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

   (4 bars) in A (→FE)

 in FC & EE

No markings in GE

Our suggestion
..

It cannot be ruled out that Chopin indeed envisioned the entire four-bar section being performed with one pedal, in spite of the harmonic change in b. 21. It would emphasize the unifying function of the ostinato, quartal mixture in the bass. On the other hand, it is that very constant bass motif that could have confused Chopin, who, while adding pedalling markings (in haste? – cf. the erroneous pedalling markings in the Prelude No. 19 in E Major, b. 26-27), could have been following the bass line only. Due to the above reason, in the main text we suggest a possible pedal change at the beginning of b. 21.
In FC and EE there is no  following  in b. 18 at all, while GE overlooked also the  mark, as a result of which b. 18-22 are devoid of pedalling markings.  

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , Errors of FC

b. 22-23

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

in bar 22 in A (→FE→EE)

in bar 23 in FC (→GE)
..

In FC (→GE) Fontana confused b. 22 with b. 23 and placed the  mark a bar too late (in A the  mark in b. 22 falls at the beginning of the line, whereas in FC it is b. 23, identical in the L.H. part, that opens the line).

category imprint: Differences between sources

issues: Errors of FC