mUltimate Chopin

Op. 28 No. 6, Prelude in B minor

Text Compare Notes Sources Description

Issues : Annotations in teaching copies

b. 18-20

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Our variant suggestion based on FEJ & FES
..

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

b. 20-21

composition: Op. 28 No. 6, Prelude in B minor

No markings in A (→FC→GE, →FE→EE) & CGS

2  in FES

Our variant suggestion
..

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

issues: Annotations in teaching copies , Annotations in FES

b. 20-21

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Our variant suggestion based on FEJ & FES
..

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

b. 22-23

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Our variant suggestion based on FEJ & FES
..

As in previous similar figures, in FES – differently than in FEJ – finger swaps were indicated on one key (the opposite situation is to be found only in b. 18).

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ

b. 22-23

composition: Op. 28 No. 6, Prelude in B minor

B1 tied in A (→FC→GE, →FE→EE) & CGS

H1 repeated in FES

Our variant suggestion
..

A mark annotated on FES is probably meant to cancel the tie to B1. The repetition of B1 is also possibly suggested by the fingering written into FEJ – the fifth finger in sequence under B1 in bar 22, and B1 and B in bar 23. The repeated B1 in bar 23 may be seen as advantageous in view of the rhythm of the basic motif and the original pedalling. Taking this into account we suggest a variant version in the main text – a tie in parantheses.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ