Issues : EE revisions
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b. 12
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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 |
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b. 13
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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 |
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b. 15
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composition: Op. 28 No. 18, Prelude in F minor
category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 15
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composition: Op. 28 No. 18, Prelude in F minor
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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). category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , Inaccuracies in FE , Wedges , Inaccuracies in FC |
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b. 16
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composition: Op. 28 No. 18, Prelude in F minor
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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 |
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