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 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 |
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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 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. 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 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 |
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