Issues : FE revisions
b. 9-12
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composition: Op. 28 No. 19, Prelude in E♭ major
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The four-bar pedal added in FE2 (→EE) must be erroneous – cf. the authentic pedalling of b. 1-4. The intention could have been to generally indicate con pedale, which Chopin would probably sometimes use in the form of a single marking (cf., e.g. the Etude in E Major, Op. 10 No. 11, b. 3-4). As Chopin's participation in the proofreading of FE2 remains unconfirmed, we keep the notation of A in the main text. category imprint: Differences between sources issues: FE revisions |
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b. 21
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composition: Op. 28 No. 19, Prelude in E♭ major category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
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b. 23
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composition: Op. 28 No. 19, Prelude in E♭ major
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In A (→FC,FE1) there is no accidental before the topmost note of the 3rd triplet. The overlooked was added in FE2 (→EE) and GE. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Errors of A , FE revisions , Errors repeated in FE |
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b. 30
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composition: Op. 28 No. 19, Prelude in E♭ major
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A and the remaining sources contain 3 poorly justified cautionary accidentals in this bar – flats before e1 and e2 and a before f2. We omit them in the main text; in turn, we add a raising g1 to g1, which is necessary and which was overlooked in A. The sharp was added both in FC (→GE) and FE (→EE). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Accidentals in different octaves , Cautionary accidentals , FE revisions , Inaccuracies in A |
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b. 41-42
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composition: Op. 28 No. 19, Prelude in E♭ major
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The authenticity of the pedalling markings added in FE2 (→EE) is uncertain. On the other hand, leaving two bars without pedalling markings in a piece provided with detailed pedalling indications may be misleading, hence in the main text we suggest adding markings after analogous b. 1-2 and 33-34. Adopting a different solution here than in b. 9-12 is motivated by the fact that Chopin saw there the entire text and could evaluate whether repeating the markings from b. 1-4 was necessary; in turn, here all he saw were empty, numbered bars, which hampered such an evaluation. category imprint: Differences between sources; Editorial revisions issues: FE revisions |