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Issues : Annotations in FES
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b. 16-18
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composition: Op. 28 No. 6, Prelude in B minor
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In the ending of the phrase, starting from the last semiquaver in b. 16, FEJ and FES present completely different fingering versions. The only point in common, the 5th finger on D in b. 17, allows us to consider the fingering used before and after independently – e.g. the 1st finger can be used only just on A, as it is done in FES, but end with the 3rd finger on F category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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b. 17
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composition: Op. 28 No. 6, Prelude in B minor
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FES contains vague signs in this bar, out of which two seem to have musical sense – a slur starting under the F
As the category imprint: Graphic ambiguousness; Differences between sources |
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b. 18-20
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composition: Op. 28 No. 6, Prelude in B minor
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Similarly to analog. b. 15, the fingering versions of FEJ and FES differ in the performing manner of the e crotchet in b. 19. For the remaining notes (until c category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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b. 20-21
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composition: Op. 28 No. 6, Prelude in B minor
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In the main text we include the most likely interpretation of the poorly legible Chopinesque teaching entries in FES. category imprint: Graphic ambiguousness; Differences between sources |
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b. 20-21
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composition: Op. 28 No. 6, Prelude in B minor
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As was the case with b. 16-17, FEJ and FES indicate the pass of the 1st finger in a different place. However, both copies are in agreement about the F category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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