mUltimate Chopin

Op. 28 No. 7, Prelude in A major

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b. 6

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

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In the main text we omit the unjustified cautionary  before g1, featured in all sources.

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category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 11

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

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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.

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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. 12

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

Chord with fingering in A (→FE,FC→GE)

Chord with fingering suggested by the editors

Chord without fingering in EE & CGS

Simplified chord in FES
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The version entered – most probably by Chopin – into FES may be considered an acceptable variant, facilitating the performance (Chopin did not cross out the fingering, but it is clear that it does not apply to this version). In GE the R.H. chord was written in a complicated, obscure manner (reproduced only in the graphical transcription – version "transcription"), not resulting from the notation of A (→FC), i.e. the a1-c2 third was provided with a separate stem and placed before the other elements of the chord. In the main text we mark the Chopinesque fingering, indicating a simultaneous performance of the R.H. a1-c2 third with the 1st finger, in a manner compliant with the one that was adopted in the National Edition for two keys being pressed with one finger. Chopin used such a measure for a minor third on black keys on a few occasions – cf. the Concerto in E Minor, Op. 11, II mov., b. 16, Concerto in F Minor, Op. 21, II mov., b. 77 and most probably also the Scherzo in C Minor, Op. 39, b. 6-8 and 14-16.   

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category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Inaccuracies in GE , Annotations in FES

b. 13

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

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In A (→FE) and CGS there is no accidental before the bottom note of the last R.H. crotchet. Therefore, it should be interpreted as an a1, which must be a mistake. A was added by Fontana in FC (→GE) and by the reviser of EE. The accidental was also added in FED (with Chopin's hand) and FES.

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category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Omissions to cancel alteration , Errors of A , Annotations in FES , Fontana's revisions , Errors repeated in FE

b. 13-15

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

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In A one can see corrections of the bass notes in b. 13 and 15 – Chopin moved them an octave lower. It is quite a frequent change used by Chopin in the stage of refining his pieces, cf., e.g. the Prelude No. 11 in B Major, b. 13, Lento con gran espressione WN37, b. 1 and 3 or the Etude in A Major, Op. 25 No. 1, b. 1.

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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes , Bass register changes