Issues : GE revisions
b. 1-5
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composition: Op. 28 No. 5, Prelude in D major
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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 |
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b. 4
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composition: Op. 28 No. 5, Prelude in D major
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In FC (→GE1) the b1-a1 semiquavers are not separated as quavers. The patent mistake of the copyist was corrected in GE2 (→GE3). See also b. 36. category imprint: Differences between sources issues: GE revisions , Errors of FC , Errors repeated in GE |
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b. 17
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composition: Op. 28 No. 5, Prelude in D major
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In GE there are cautionary naturals before a in the L.H. and a1 in the R.H. They were added because of a2 (erroneous) at the end of b. 16. Under the influence of GE1, that addition – just like the of a2 in b. 16 – was also introduced in EE2. category imprint: Differences between sources issues: EE revisions , GE revisions |
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b. 18-20
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composition: Op. 28 No. 5, Prelude in D major
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In A the pedalling of these bars, seemingly inconsistent and differing from analog. b. 2-4, could be considered inaccurate, e.g. due to having been written in haste. However, it turns out that if we take into account the R.H. part, the pedalling markings fall almost exactly in the same place as the first time. It seems highly unlikely that it could have been an accident; therefore, Chopin apparently marked pedal changes in this vibrating dominant ninth chord to separate the sections with minor ninth (b1) from the sections with major ninth (b1). This is how we interpret it in the main text. In the remaining sources, the marks were rather adjusted to the L.H. notes; moreover, GE arbitrarily moved the last change of pedal to the beginning of b. 20. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in A |
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b. 36
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composition: Op. 28 No. 5, Prelude in D major
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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 |