mUltimate Chopin

Op. 28 No. 5, Prelude in D major

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b. 5-21

composition: Op. 28 No. 5, Prelude in D major

..

In b. 5 and 21 EE added a cautionary  before A.

category imprint: Differences between sources

issues: EE revisions

b. 11

composition: Op. 28 No. 5, Prelude in D major

in A (→FE→EE)

in FC (→GE)
..

Due to the coincidence of minor inaccuracies of FC and GE, the  mark in the latter was already placed much farther than in A. We also assume that the versions of FC and GE, differing by a half of a semiquaver, are equivalent.  

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FC

b. 13-32

composition: Op. 28 No. 5, Prelude in D major

Crotchets in A

No crotchets i FC (→GE) & FE (→EE)
..

In each of b. 13-16 and 29-32, Chopin initially separated in A the 3rd and 5th semiquavers (b1-e1 and g1-c1, respectively) as an additional voice consisting of a quaver and a semiquaver: . He then abandoned that voice; he crossed out the beam and the additional stem of the 5th semiquaver. However, he left the additional stem of the 3rd semiquaver; he even prolonged it over the crossed-out beam, which must have meant that the note should be a crotchet. The sense of such corrections was guessed neither by Fontana nor by the engraver of FE.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Corrections in A , Errors resulting from corrections , Deletions in A , Accompaniment changes , Errors of FC

b. 13

composition: Op. 28 No. 5, Prelude in D major

 on 3rd semiquaver in A (→FC,FE →EE)

 on 1st semiquaver in GE
..

The earlier position of the  mark is almost certainly a mistake of the engraver of GE.

category imprint: Differences between sources

issues: Errors in GE

b. 14-16

composition: Op. 28 No. 5, Prelude in D major

Pedalling in A (probable interpretation→FC)

Pedalling in FE

Pedalling in GE

Pedalling in EE
..

At times, the pedalling of A is difficult to interpret here due to a dense notation and crossings-out. The  mark can be particularly troublesome, since it encompasses two notes sometimes. In the main text we give a version that is compatible with the notation and that includes the harmonic changes. This is how it was reproduced by Fontana in FC; however, neither FE nor GE repeated that version. The notation of EE is also noteworthy: a  mark at the beginning of the bar is followed by two  marks, one in the middle and the other at the end of the bar. The above situation can be observed three times.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Errors in EE , Inaccuracies in A