mUltimate Chopin

Op. 28 No. 7, Prelude in A major

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b. 9-14

composition: Op. 28 No. 7, Prelude in A major

Pedalling in A (→FC→GE, →FE→EE)

Pedalling in CXI

No markings in CGS
..

As in bars 5 and 7, the position of  marks in bars 9 and 13 (and also 11) is possibly inaccurate, although one cannot entirely rule out that their placement, resulting in a well-sounding pedalling, is authentic – see b. 5-6.
The placement of  signs is most probably inaccurate in this manuscript and therefore the editors recommend releasing the pedal before the 3rd beat in bar 10 and 14 (also 12) even when one chooses the delayed pedal use.
No pedalling markings in CGS – see b. 3-4.

category imprint: Differences between sources

b. 11

composition: Op. 28 No. 7, Prelude in A major

..

In A (→FE,FC→GE1) there is no  raising d2 to d2. In the context of a similar move in b. 3, it is a patent oversight, corrected by the revisers of GE2 and EE. Sharps, coming from Chopin, were added in pencil in FED, FES and FESch; both sharps are also in CXI. On the basis of the poorly legible photocopy of CGS at the disposal of the editors of mUltimate Chopin, it is difficult to clearly interpret the notation of that source; however, it is most likely that they are two sharps.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , GE revisions , Errors of A , Annotations in FES , Annotations in FESch , Errors repeated in GE , Errors repeated in FE

b. 11

composition: Op. 28 No. 7, Prelude in A major

Fingering written into FED

No teaching fingering
..

In the main text we include the fingering, coming most probably from Chopin, entered into FED. The entry concerning this semiquaver is blurry and thus difficult to interpret – it consists of two parts, under and above notes, out of which each seems to contain certain digits, perhaps combined with other signs. We base our interpretation on the assumption that each part was being written at a different time, probably by a different person, but both contain digits '1' and '2', written one above the other. This corresponds to the – practically the only possible – fingering of this place, while the performance of the entry emphasizes the need for holding the c2-e2 third on the 2nd and 3rd beats of the bar (in spite of the pedalling), probably to prepare the position of the broad, culminant chord in the next bar. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 11-12

composition: Op. 28 No. 7, Prelude in A major

in A (→FE→EE)

 in bar 11 in FC (→GE)

No sign in CGS
..

We qualify the shorter mark in FC (→GE) and the oversight thereof in CGS as an inaccuracy or a mistake in copying.

category imprint: Differences between sources

issues: Inaccuracies in FC , Errors in CGS

b. 11-12

composition: Op. 28 No. 7, Prelude in A major

    in A (→FC→GE, →FE→EE)

        in CXI
..

category imprint: Differences between sources