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, which was indicated in FEJ. In turn, the 3rd finger written in FEJ at the beginning of b. 18 does not combine with the second, with which the previous F note was marked in FES. In the FES itself, the minim G in bar 18 is not marked with fingering – the sign below it do not form a digit in our opinion – so both notes in b. 18 were possibly to be performed with the 1st finger, clearly separating the phrases, in accordance with the slurring. It cannot be ruled out that one of the lines written there underlines such a separation. 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 minim and a hairpin of a similar range. In the main text we do not include any of them:
As the reasonably complements the indication from the previous bar, we suggest the version including this sign as an alternative solution. 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 in b. 20), both copies indicated the same fingering, yet in a different way. Under the f quaver in b. 19, FES initially contained the digit '1', which was then transformed into a '2'. According to us, it was not a change of a finger, but a correction of a mistake. 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 minim, to which the 2nd finger is assigned in FEJ, and, implicitly (on the basis of b. 17), also in FES. category imprint: Differences between sources issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ |
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