mUltimate Chopin

Op. 28 No. 19, Prelude in E♭ major

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Page: 
Source: 
p. 3, b. 49-71
p. 1, b. 1-24
p. 2, b. 25-48
p. 3, b. 49-71
Main text
Main text
A - Autograph
FC - Fontana's copy
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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Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
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Notation
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Pitch
Rhythm
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Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
A - Autograph
FC - Fontana's copy
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. 52

in A (→FC)

in FE (→EE)

in GE

Adjusting  hairpins to the width of a bar is a routine revision of FE (→EE), like in previous bars. The change of direction of the mark is a mistake of the engraver of GE, often encountered in first editions of works by Chopin.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Inaccuracies in FE, Scope of dynamic hairpins, Errors in GE, Sign reversal

notation: Articulation, Accents, Hairpins

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