Issues : Inaccuracies in FC
b. 13-14
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composition: Op. 28 No. 18, Prelude in F minor
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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 |
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b. 13-14
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composition: Op. 28 No. 18, Prelude in F minor
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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. category imprint: Differences between sources; Editorial revisions issues: Errors in GE , Wedges , Inaccuracies in FC |
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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 |