Issues : Terzverschreibung error

b. 1

composition: Op. 28 No. 19, Prelude in E♭ major

e1 in A (→FCGE1, →FEEE)

g1 in GE2 (→GE3)

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The change of the 3rd quaver of the bar from e1 to g1, introduced in GE2 (→GE3), most probably originated from analogous b. 9, in which g1 is present in all sources. There is no question that g1 is more natural here from the pianistic point of view as well as more logical in terms of the structure of figurations. Therefore, did Chopin actually commit a Terzverschreibung mistake right at the beginning of a piece? An important argument against that hypothesis is a similar differentiation between b. 1 and 9 in the Etude in E Major, Op. 10 No. 11 (in the Etude, the notation rules out a mistake, since it would have had to encompass 5 chords). In both cases, it was a combination with the preceding figure (in b. 8-9) or its absence (in b. 1) that could have been the reason for the differentiation. Taking into account the above, in the main text we leave the version of A. A similar situation can be found in b. 33.

category imprint: Differences between sources

issues: Terzverschreibung error , GE revisions

b. 2

composition: Op. 28 No. 19, Prelude in E♭ major

e2 in A (→FC,FEEE) & GE2 (→GE3)

g2 in GE1

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The engraver of GE1 did not notice (considered it a mistake?) that the first two notes of the last triplet do not constitute the interval of an octave, unlike in the previous ones. The mistake was corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error , GE revisions

b. 5

composition: Op. 28 No. 19, Prelude in E♭ major

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The 3rd quaver in GE1 is a c2 (with a ). At this pitch, a natural does not cancel anything; in turn, it deprives the 6th and 9th semiquavers of necessary alterations, which points to a Terzverschreibung mistake, irrespective of the compliant version of the remaining sources. The error was corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Terzverschreibung error , GE revisions

b. 12

composition: Op. 28 No. 19, Prelude in E♭ major

c in sources

e, our alternative suggestion

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There are indications that the c note, present in all sources, could have been erroneously inserted instead of e:

  • in combination with the next bar, parallel fifths in the outer voices occur: c-g2 and c-g2,
  • no pedalling in b. 9-12 suggests that Chopin expected here the same harmonic course as in b. 1-4,
  • another possibility is a lapsus calami of Chopin consisting in the anticipation of the 1st note of the next bar (cf. the commentary on the Prelude in F Major, Op. 28 No. 13, b. 32).

The above statements, however, do not tip the balance in favour of the composer's mistake:

  • parallel fifths in outer voices, unquestionable in terms of sources, can be found in Chopin's oeuvre, especially when the chords share a common note and when at least one is dissonant, e.g. in the Prelude No. 4 in E Minor, b. 3-4 or in the Scherzo in E Major, Op. 54, b. 55-56,
  • Chopin committed a few inaccuracies in the pedalling markings in this Prelude in A, even a few evident mistakes, which could mean that it was written down hastily; therefore, it undermines the arguments based on it.

Therefore, in the main text we keep c, which is present in the sources; we suggest the version with e, assuming Chopin's mistake, as an acceptable variant.

category imprint: Interpretations within context; Editorial revisions

issues: Terzverschreibung error

b. 21

composition: Op. 28 No. 19, Prelude in E♭ major

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The 5th R.H. quaver in GE1 is an erroneous a1 instead of f1. The mistake was rectified in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Terzverschreibung error , GE revisions