Issues : Inaccuracies in A
b. 8
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A (→FC,FE) there is no before the 2nd semiquaver in the 2nd half of the bar (a2). The patent inaccuracy was corrected in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 27
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The position of the mark in the middle of the bar is confusing in A – it is placed between the A and the d quavers. According to us, it is more likely that Chopin meant A, as it was actually interpreted both in FC (→GE) and FE (→EE). It is supported by the resemblance to b. 26, in which is clearly under the 4th quaver in the bar, and by the preceding asterisk having been placed before the 4th quaver in spite of no harmonic change. category imprint: Graphic ambiguousness issues: Inaccuracies in A |
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b. 29
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A (→FC,FE) there is no before the bottom note of the chord on the 2nd quaver (e). The patent inaccuracy was corrected in GE and EE. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 36
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The absence of a must be Chopin's oversight (this bar is written in A at the end of the line, which promotes inaccuracies). In the main text we suggest adding the mark analogously to the 1st half of the bar, since the authenticity of the mark added in FC (→GE) and FE (→EE) at the end of the bar is questionable. category imprint: Differences between sources; Editorial revisions issues: FE revisions , No pedal release mark , Fontana's revisions , Inaccuracies in A |
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b. 46
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The mark in A occupies an uncommonly large space – from the octave at the end of b. 45 to the crotchet rest in b. 46. The pianistic sense – increasing the span of the final chord – requires that the mark be placed under the grace note, which, however, was not performed in any of the remaining sources. In a similar situation in the ending of the Prelude No. 5 in D Major, Chopin wrote clearly under the grace note. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccuracies in FC , Inaccuracies in A |