mUltimate Chopin

Op. 28 No. 7, Prelude in A major

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Page: 
Source: 
p. 1, b. 1-16
p. 1, b. 1-16
Main text
Main text
A - Autograph
FC - Fontana's copy
CXI - Copy of earlier version
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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A - Autograph
FC - Fontana's copy
CXI - Copy of earlier version
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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  b. 15

Unslashed grace note in A (→FE→EE) & CGS

Slashed grace note in FC (→GE)

Replacing non-slashed grace notes – small quavers – by slashed ones is one of the mannerisms of Fontana as a copyist. As Chopin did not strictly observe the difference between both types of grace notes, in this case both versions of notation have the same meaning.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Notation of grace notes, Fontana's revisions

notation: Ornaments

Missing markers on sources: CGS, A, FC, FE1, FE2, FED, FEJ, FES, FESch, GE1, GE2, GE3, EE1, EE2, CXI, EE1a
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