mUltimate Chopin

Op. 28 No. 18, Prelude in F minor

Text Compare Notes Sources Description

Issues : EE revisions

b. 12

composition: Op. 28 No. 18, Prelude in F minor

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In A (→FC,FE1) there are no accidentals before the last semiquaver (in both hands), which, when interpreted literally, gives d1 and d. In FE2 a  was added, yet only in the R.H., where it is a cautionary accidental. GE and EE include naturals in both hands.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE

b. 13

composition: Op. 28 No. 18, Prelude in F minor

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EE erroneously has e as the 2nd L.H. semiquaver.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE , Terzverschreibung error

b. 15

composition: Op. 28 No. 18, Prelude in F minor

2 slurs in A (→FE,FC→GE) & EE2

No slurs in EE1
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The slurs were certainly overlooked in EE1, which was corrected in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 15

composition: Op. 28 No. 18, Prelude in F minor

R.H. wedges in A

4 staccato dots in FC (→GE) & EE

3 dots in FE

4 wedges suggested by the editors
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In this bar Chopin again marked the articulation of the chords only over the R.H. part. As the performance cannot differ from the one in b. 13-14, in the main text we add marks also under the L.H. chords. Such a solution was adopted both by FC (→GE) and FE (→EE).
In FE, the missing mark for the 1st R.H. chord must be an oversight of the engraver.
Both FC (→GE) and FE (→EE) interpreted the marks of A as staccato dots. Although they are not as pronounced as those in b. 9-12 or 14 (the R.H. mark), we consider them to be wedges.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Inaccuracies in FE , Wedges , Inaccuracies in FC

b. 16

composition: Op. 28 No. 18, Prelude in F minor

Short accents in A (→FE,FC→GE)

Vertical accents in EE
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Vertical accents were often used in EE as an arbitrary replacement for authentic horizontal accents (short or long) – cf., e.g. the Prelude in G minor no. 12, b. 37-38.

category imprint: Differences between sources

issues: EE revisions