mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 1

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

6 accents in A (→FE)

No marks in FC (→GE)

6 vertical accents in EE
..

In this bar Fontana overlooked all performance indications except the slur, i.e. , pedalling markings, accents and the staccato dot in the bass.
The change of font for accents in EE was an arbitrary decision typical of that edition. 

category imprint: Differences between sources

issues: Errors of FC

b. 1

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

Staccato in A (→FE)

No mark in FC (→GE) & EE
..

The missing staccato dot is an oversight of the copyist and the engraver of EE.

category imprint: Differences between sources

issues: Errors in EE , 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. 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. 18-21

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

..

All bass octaves in b. 18-20 and the first in b. 21 were provided with staccato dots in A, which Chopin then crossed out and replaced with slurs.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A