mUltimate Chopin

Main text

A - Autograph

FC - Fontana's copy

CGS - Copy by George Sand

FE - French edition

FE1 - First French edition

FE2 - Corrected impression of FE1

FED - Dubois copy

FEJ - Jędrzejewicz Copy

FES - Stirling copy

FESch - Scherbatoff copy

GE - German edition

GE1 - First German edition

GE2 - Revised impression of GE1

GE3 - Corrected impression of GE2

EE - English edition

EE1 - First English edition

EE1a - Corrected impression of EE1

EE2 - Revised impression of EE1a

compare

b. 5

		in A (contextual interpretation) & GE
		in FC
		in FE
		in EE
		No marking in CGS

Just like in the similar situations in b. 1 and 3, we believe that it is the top arm of the mark in A that is more reliable. In FC Fontana averaged the length of the mark, which is one of possible solutions. We consider the mark in GE, slightly shorter than in FC, to be compliant with our interpretation of A. The mark of FE, stretched out, so that it covers an entire bar (and inaccurately reproduced in EE), is most probably a revision.

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins, EE inaccuracies, FE revisions

notation: Pitch

Go to the music

Op. 28 No. 6, Prelude in B minor