Issues : EE revisions
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b. 35
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composition: Op. 28 No. 19, Prelude in E♭ major
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As was the case in b. 3 and 11, there is no raising b to b in A (→FC,FE). The accidentals were added in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 40
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composition: Op. 28 No. 19, Prelude in E♭ major
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In the main text we add cautionary flats before the 3rd L.H. quaver (a) and the 6th R.H. quaver (a1). The R.H. accidental was also added in GE and EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 43-44
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composition: Op. 28 No. 19, Prelude in E♭ major
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In the main text we add cautionary accidentals: before b and before g2 at the end of b. 43 and before e, before g and before b1 in b. 44. Both accidentals in b. 43 were already added in EE. The flat before e in b. 44 was in A in the initial, crossed-out version of the L.H. part in that bar. category imprint: Differences between sources; Editorial revisions; Source & stylistic information issues: EE revisions , Cautionary accidentals |
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b. 44
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composition: Op. 28 No. 19, Prelude in E♭ major
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In the last R.H. triplet, A (→FC,FE) contains only the lowering d3 to d3. In GE and EE, a was added before the next quaver (d2), yet the overlooked restoring g2 on the last quaver of the bar is absent in all sources. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 69-71
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composition: Op. 28 No. 19, Prelude in E♭ major
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The asterisk, added both in FC (→GE) and FE (→EE), cannot be authentic. The notation of A implies that the pedal depressed on the 3rd beat of b. 68 should be held to the end of the Prelude; moreover, both the sonic effect of such pedalling and no final mark are typical of Chopin and are to be found in the endings of a number of his compositions. The individual sources slightly differ in the placement of this , hence we assume that there are two slightly different versions. category imprint: Differences between sources issues: EE revisions , FE revisions , Fontana's revisions |
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