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b. 17
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composition: Op. 28 No. 18, Prelude in F minor
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The missing e category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 17
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composition: Op. 28 No. 18, Prelude in F minor
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In A the second part of the passage was crossed out and rewritten. The reason could have been, e.g. Chopin's mistake, who wrote the passage as if there were no octave sign over the first part thereof, hence without f2-e category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 17
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composition: Op. 28 No. 18, Prelude in F minor
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In the main text we reproduce the very precise performance marks for the chord on the 2nd beat of the bar in A: long accents over f4 and the L.H. chord and a staccato dot under f3. The R.H. marks were overlooked both in FC (→GE) and FE1, which is justified to a certain extent, since both marks are poorly visible. The L.H. accent (short) was placed in FE under the chord, as a result of which the R.H. octave is not accented at all. FE2 tried to amend it by adding a long accent under it. Introduction of a vertical accent in EE is an arbitrary decision typical of that publisher – cf. the previous bar. category imprint: Differences between sources issues: Long accents , EE revisions , Errors in FE , Inaccuracies in GE , Placement of markings , FE revisions , Errors of FC |
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b. 17
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composition: Op. 28 No. 18, Prelude in F minor
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In A there is no category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Fontana's revisions , Inaccuracies in A |
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b. 17
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composition: Op. 28 No. 18, Prelude in F minor
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The missing The crossing-out visible in A proves that Chopin initially entered that mark before the f3-f4 octave. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Errors of FC |
1 in arpeggio in 
. However, it seems more likely that it is a trace of the initial version of the passage, which started an octave lower: 
. The latter is supported by the fact that the octave sign seems as if it were added to the finished text, e.g. it overlaps with the accent. Broadening the span of the passage would also harmonize with the similar corrections performed in the previous fragment – see b. 
before the bottom note of the L.H. octave. As at the end of b. 15, this patent inaccuracy of Chopin was already corrected in 
in 