mUltimate Chopin

Op. 28 No. 5, Prelude in D major

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b. 33-34

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

Pedalling in A (→FE→EE)

Pedalling in FC

Pedalling in GE
..

The pedal change between b. 33 and 34 is written in FC inaccurately – one can get the impression that the pedal is to be pressed already on the last semiquaver in b. 33. It caused a minor inaccuracy in GE too, in which the  mark was placed clearly before that note.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FC

b. 33

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

 from mid-bar in A

 from beginning of bar in FC (→GE) & FE (→EE)
..

An earlier starting point of the  hairpin than in A seems to be an almost insignificant inaccuracy. However, the notation of A may suggest a certain detail, e.g. a correspondence between crescendo and the presence of the separated middle voice, hence in the main text we leave it unchanged. The inaccuracy of both FC and FE shows that adjusting longitudinal marks – hairpins, slurs – to rhythmic structures was not only a mannerism of engravers.

category imprint: Differences between sources

issues: Inaccuracies in FE , Inaccuracies in FC

b. 34-35

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

..

The corrections performed in A reveal that the last semiquaver in b. 34 and the second one in b. 35 were initially g1-f1. Chopin crossed out the noteheads and replaced them by b1-a1. He introduced the same change also in b. 36. It is also likely that both places were initially supposed to include the g1-b1 and f1-a1 thirds.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 36

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

Quavers in A & GE2 (→GE3)

No quavers in FC (→GE1) & FE (→EE)
..

Just like in b. 34-35, Chopin changed the pitch of the 2nd and 4th notes in A from g1-f1 to b1-a1. In this case, however, the crossing-out of both noteheads also includes the stems (pointing downwards) of the separated quaver voice, which resulted in it having been overlooked both in FC (→GE1) and FE (→EE). Assuming a mistake, GE2 (→GE3) separated both notes after the previous bars.

category imprint: Differences between sources; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , GE revisions , Deletions in A

b. 36-37

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

 in A, contextual interpretation

Shorter  in FC (→GE)
..

In A this bar opens a new line, while the  mark begins still before the accolade, which suggests that it should start earlier, e.g. in the previous bar. Therefore, it is almost certain that considering it an extension of the  hairpin from the preceding bars, as it was performed both in FC (→GE) and FE (→EE), is right.
The slightly shorter mark in FC (→GE) is an inaccuracy of the copyist.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FC , Hairpins denoting continuation