Slurs
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b. 1-12
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composition: Op. 28 No. 7, Prelude in A major
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CXI includes only one phrase mark, in b. 13-16. As the source of the text of that manuscript remains unknown, it is difficult to say whether it was carelessness of the copyist or whether the phrase marks were absent already in the copied source. The former seems more likely, since the copyist was gradually including more and more elements of notation – apart from the aforementioned phrase mark, the second line of CXI contains, e.g. all necessary category imprint: Differences between sources |
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b. 6
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composition: Op. 28 No. 7, Prelude in A major
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The version of FC (→GE) most probably results from Fontana having misunderstood the notation of A – the second phrase mark in this bar seems to begin earlier due to the trace of a quaver beam, showing through from the Prelude No. 8 in F category imprint: Differences between sources issues: Inaccuracies in FC |
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b. 12-16
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composition: Op. 28 No. 7, Prelude in A major
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In A (→FC) the last phrase mark of the Prelude also encompasses the final rest. It may be an inaccuracy, quite frequently encountered in Chopin's works, as it was interpreted in the editions; this is also the interpretation we give in the main text. However, it cannot be ruled out that such an ending of the phrase mark emphasizes the gradual dispersal of music, like the crossed-out pedal release mark. No division between the phrase marks in b. 14 in CXI can be explained by a misinterpretation of the Stichvorlage – the phrase marks of A are written with a flourish, which could have also been the case of the hypothetical manuscript that served as the Stichvorlage for CXI (Fontana committed a similar mistake in FC – see b. 6). The fact that the phrase mark was led to the end of b. 16, like in A (→FC), but unlike in the editions, is also noteworthy. category imprint: Differences between sources |
asterisks, the majority of which were overlooked in the first line. We discuss the phrase marks in b. 
Minor, written on the next page.
