mUltimate Chopin

Op. 28 No. 18, Prelude in F minor

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b. 13

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

..

In the main text we add cautionary flats before e and e1.

category imprint: Editorial revisions

b. 13-14

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

New cresc. from bar 13 in A, literal reading

cresc. continued in bar 14 in FC (→GE)

cresc. continued in bar 13 in FE (→EE)
..

In the main text we reproduce the notation of A literally, in which cresc. in b. 13 somehow initiates a second wave of growth of dynamics. However, it is likely that Chopin meant it to continue the cresc. that began in b. 9, while its repetition in b. 13 was supposed to remind us what the dashes concern (b. 13 opens a new page in A). Therefore, the version of FE (→EE), in which this is how it was interpreted, may be considered an equal variant. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FC , Inaccuracies in A

b. 13-14

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

No L.H. slurs in A (→FC→GE)

2 slurs in FE (→EE)
..

The missing L.H. slurs in the second halves of these bars could have resulted from lack of space in A. In the main text we add them, as it was performed in FE (→EE). 

category imprint: Differences between sources; Editorial revisions

issues: FE revisions

b. 13

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

..

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. 13-14

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

Dots & wedges in A (→FE→EE)

4 dots in FC

3 dots in GE

4 wedges suggested by the editors
..

Each of the chords on the 2nd beat of these bars is provided with a pair of staccato marks in A (→FE→EE), one for each hand. The change of notation with respect to the previous bars can be explained by the change of layout – the R.H. chords are written entirely on the top stave here, as a result of which the validity of the marks placed over the R.H. in the L.H. is not so obvious anymore. According to us, it is another argument confirming the accuracy of our interpretation of the marks in b. 9-12.
The use of staccato dots in b. 13 is problematic – taking into account the fact that both before and after (b. 15) Chopin wrote wedges, we consider the notation of this bar to be inaccurate in this respect; therefore, in the main text we suggest wedges in both discussed bars. The versions of FC and GE resulted from inaccuracies of the copyist and from an oversight of the engraver of GE.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , Wedges , Inaccuracies in FC