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b. 35
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composition: Op. 28 No. 17, Prelude in A♭ major
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In FCI the first 2 R.H. quavers, apart from the d category imprint: Corrections & alterations; Source & stylistic information issues: Main-line changes |
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b. 35-36
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composition: Op. 28 No. 17, Prelude in A♭ major
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The slur of A begins from the 2nd quaver, which we give in the main text. In FE and EE the slur starts earlier (in FE from the 1st quaver, while EE continue the slur from the previous line), which we deem inaccurate. In FC (→GE) the slur was overlooked. As far as the ending of the slur is concerned, since in the entire Prelude it is slurs/tenutos that prevail in similar situations – see the note to b. 4-5 – to the main text we adopt such an interpretation, compliant with FE (→EE). category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccuracies in FE , EE inaccuracies , Errors of FC , Uncertain slur continuation |
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b. 37
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composition: Op. 28 No. 17, Prelude in A♭ major
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The crossing-out of the D category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Bass register changes , Last key signature sign |
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b. 37-42
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composition: Op. 28 No. 17, Prelude in A♭ major
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The pedal markings added to FE2, probably by Fontana, are a repetition of the authentic pedal markings in analogous b. 5-10 (omission of b. 36 is most probably an oversight). Chopin would often omit pedal markings in repeating fragments in which he had already indicated them the first time, e.g. in b. 11-17, hence we do not include them in the main text. category imprint: Differences between sources issues: FE revisions |
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b. 38
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composition: Op. 28 No. 17, Prelude in A♭ major
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In A (→FE) the top R.H. voice crotchets are devoid of dots. It must be Chopin's oversight – cf. analogous b. 6 and 14. Dots are in FCI as well as in FC (→GE) and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors of A , Fontana's revisions , Errors repeated in FE |