mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

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b. 22

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

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In A there was initially a  before the 5th semiquaver, which, together with the  before the 7th note, would result in the following sequence, in which the 5th, 8th and 10th notes would be c2: .
In the next bar, when the subsequent seven semiquavers (counting from g1) are repeated an octave higher, there are no traces of changes – the final version was entered straight away.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 22-23

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

Fingering in A (→FC)

No fingering in FE (→EE1)

Fingering in GE & EE2
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The absence of fingering in FE (→EE) is probably a result of an oversight of the engraver of FE. The digit having been moved by one note in b. 22 is probably a mistake of the engraver of GE. That mistake was repeated in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors in GE , Errors repeated in EE

b. 22-24

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

Single slurs in A (→FE,FC→GE)

Double slurs in EE
..

category imprint: Differences between sources

issues: EE revisions

b. 23

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

..

The fragment of the figuration from the 2nd to the 13th semiquaver is actually a repetition (an octave higher) of a respective fragment of the preceding bar (from the 6th semiquaver). The only difference is the 1st semiquaver in the 3rd group of that bar, f3, in relation to f2 in b. 22. Many editors of subsequent collective editions considered it to be Chopin's mistake and changed f3 to f3. According to us, there are not enough reasons for such a change:

  • in a similar figuration in b. 4-5 the sequence of intervals in b. 4 is completely different than in b. 5, which shows that Chopin did not strive for a strict repetition of the intervals used an octave lower;
  • the initial version of b. 22 contained more differences, since the 5th, 7th, 8th and 10th semiquavers were written half a tone lower;
  • Chopin's possible oversight would concern two accidentals – the  before f3 at the beginning of the 3rd group of semiquavers and the  restoring f3 at the end, which reduces the chances of mistake.

category imprint: Source & stylistic information

b. 23

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

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We omit a cautionary  before d3 in the main text.

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals