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Issues : Errors of FC
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b. 12-14
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composition: Op. 28 No. 16, Prelude in B♭ minor
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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. category imprint: Differences between sources issues: EE revisions , Errors in EE , GE revisions , Errors of FC |
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b. 14
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The missing category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors of FC |
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b. 17
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The missing arpeggio is most probably an oversight of the copyist. category imprint: Differences between sources issues: Errors of FC |
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b. 18-21
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composition: Op. 28 No. 16, Prelude in B♭ minor
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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 category imprint: Differences between sources; Editorial revisions issues: Errors in GE , Errors of FC |
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b. 22-23
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In FC (→GE) Fontana confused b. 22 with b. 23 and placed the category imprint: Differences between sources issues: Errors of FC |
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