mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

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b. 15

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

Fingering written into FESch

No teaching fingering
..

We include this fingering in the main text (probably indicated by Chopin).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 15

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

..

In the main text we add cautionary flats before a and a1.

category imprint: Editorial revisions

b. 15-16

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

2 half-bar long  in A (contextual interpretation→FE→EE)

Different  in FC

Different  in GE
..

Both  marks in these bars have clearly different arms in A – the top arm begins in the middle of the bar, while the bottom one – on the 2nd beat. According to us, it is the top arm that should be regarded as reliable, since it was written first. This is how those marks were interpreted in FE (→EE) and the latter also in FC (inaccurately reproduced in GE). In FC (→GE) in b. 15 Fontana averaged the length of the arms.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A

b. 16

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

a-c1-g1 in A (→FC,FE→EE)

a-g1 in GE
..

The notation of the chord on the 2nd quaver in the bar is ambiguous in FC – the c1 note, although most probably written by Fontana, is actually imperceptible and was not included in GE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FC

b. 16-17

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

..

The crossings-out visible in the L.H. part in A allow us to decipher the initial version of the ending of b. 16 and of entire b. 17, which is as follows: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes