mUltimate Chopin

Op. 28 No. 5, Prelude in D major

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Pedalling

b. 1-5

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

Pedalling in A, contextual interpretation

Pedalling in FC

Pedalling in FE (→EE)

Pedalling in GE
..

The differences between the sources result from mistakes and inaccuracies of both the copyist and the engravers of FE and GE. However, the issues concerning the decipherment and the interpretation of A were caused by, e.g. a dense notation, without spaces between the staves – actually, in A there is no space for pedalling markings, added later, which resulted in them being placed inaccurately at times. The interpretation of A given in the main text corrects the position of the  marks in b. 1-2 and 5 – according to us, in A they are placed before the notes they concern, i.e. A (cf. the markings in analogous figures in b. 3-4) or D. We also move the  marks, which precede them, accordingly. See also b. 17 and 18-20.

category imprint: Graphic ambiguousness; Differences between sources

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

b. 5-6

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

 signs in A (→FC,FE→EE)

signs in GE
..

Except for GE, in the sources the placement of the pedal asterisks was quite accurately reproduced after A – the differences do not exceed a half of a semiquaver. In turn, the pedal in b. 5 in GE encompasses the entire bar, which deviates from the notation of FC to such an extent that one can assume a mistake, e.g. printing the  from the previous bar. The mark in b. 6 was also reproduced inaccurately, moving it towards the end of the bar.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in GE

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

b. 17

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

 in A, contextual interpretation

  in A (literal reading→FC,FE→EE)

 in GE
..

It is uncertain whether the  mark concerns the third or fourth semiquaver in A – the mark begins under the third and ends under the fifth semiquaver. A comparison with analog. b. 1 suggests the 3rd semiquaver, from which the broken A9 chord starts, and this is the version we suggest in the main text. The version of the remaining sources – except for GE, in which the preceding  mark was placed after the 3rd semiquaver – can be considered an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in A