mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

Text Compare Notes Sources Description

Issues : Errors in GE

b. 2

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

c2-e2 in A (→FC,FE→EE)

e2-c2 in GE
..

The version of GE is a mistake of the engraver, which is indicated by the concordant version of the remaining sources and by a comparison with analogous motifs in b. 18 as well as in b. 6 and 22.

category imprint: Differences between sources

issues: Errors in GE

b. 18-21

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

   (4 bars) in A (→FE)

 in FC & EE

No markings in GE

Our suggestion
..

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.
In FC and EE there is no  following  in b. 18 at all, while GE overlooked also the  mark, as a result of which b. 18-22 are devoid of pedalling markings.  

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , Errors of FC

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
..

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. 24

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

e-c1-g1 in A (→FC,FE→EE)

g-g1 in GE
..

The version of GE must be erroneous, although it is difficult to say what could have misled the engraver.

category imprint: Differences between sources

issues: Errors in GE

b. 34-41

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

sempre più animato - - - till bar 41 in A

sempre più animato - - - till bar 40 in FC

sempre più animato - - till bar 38 in FE (→EE)

sempre - più - animato in bars 34-36 in GE
..

The sempre più animato indication occupies over 2 bars (b. 35 is written in an abridged manner) in A (→FC→GE); in FE (→EE) – one and a half. It matters only in the case of GE, in which the dashes marking the range of that indication were overlooked, and it is only in the version of that edition that we reproduce it in our transcription. In A and the sources based on it, the dashes were led to the end of the next line, which in A falls on b. 41, but in FC on b. 40, and in FE even earlier, i.e. on b. 38. Therefore, the shorter range is a patent mistake, both of the copyist and the engraver of FE, hence in the main text we reproduce the notation of A. According to us, however, it cannot be ruled out that a similar mistake was committed also by Chopin, since he wrote the last dash already beyond the bar line ending b. 41, and performing b. 42-45 sempre più animato seems to comply with the culminant nature of the ending of the Prelude. 

category imprint: Differences between sources; Editorial revisions; Source & stylistic information

issues: Errors in FE , Errors in GE , Inaccuracies in FC