Issues : Errors in GE

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,FEEE)

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,FEEE)

 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. 26-30

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

Dashes to beginning of bar 28 in A (→FE)

Dashes up to bar 30 in FC

No dashes in GE

Dashes to end of bar 28 in EE

..

The dashes marking the range of cresc. were misinterpreted in FC and GE; in turn, EE reproduced them inaccurately. The copyist, who did not notice dim. in b. 31, led the dashes until this very bar, since he was convinced that the dashes in the following bars mark the continuation of crescendo. The engraver of GE forgot the dashes on a new line of text. The engraver of EE probably considered the notation of FE to be inaccurate and led the dashes to the end of b. 28, which, actually, seems to be one of the acceptable interpretations of the notation of A (→FE).

category imprint: Differences between sources

issues: Errors in GE , Errors of FC

b. 31-32

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

dim. - - - in A

 - - - in FC

dim. - - in FE

No indication in GE

dim. in EE

..

The dynamic indication of A was not accurately reproduced in any of the remaining sources. The most serious mistake was committed by Fontana, who did not notice the dim. indication and continued writing crescendo dashes in FC, which radically changed the effect intended by Chopin. Therefore, dim. is also absent in GE, in which, however, the oversight of dashes (already from b. 26) mitigated the results of the copyist's mistake. Omission of some or all dashes in FE and EE are minor inaccuracies.

category imprint: Differences between sources

issues: Errors in GE , Errors of FC