|
b. 8
|
composition: Op. 28 No. 8, Prelude in F♯ minor
..
In A before the 2nd demisemiquaver in the 3rd group, one can see a crossing-out, most probably of a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , Deletions in A |
|||||||||||
|
b. 9-12
|
composition: Op. 28 No. 8, Prelude in F♯ minor
..
In b. 9 and 12, which fall between the lines in our transcriptions, we repeat accidentals in the 2nd half of the bar; they are not necessary in undivided bars and hence absent in the sources. Such an intervention does not influence the interpretation of the text; we reproduce the literal notation of the sources in the graphical transcription. category imprint: Editorial revisions |
|||||||||||
|
b. 9
|
composition: Op. 28 No. 8, Prelude in F♯ minor
..
The main text is the version of the sources (interpreted literally). However, the crossings-out and corrections in this figure, visible in A, allow us to assume that Chopin forgot to insert a category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors of A , Deletions in A , Accompaniment changes |
|||||||||||
|
b. 9-12
|
composition: Op. 28 No. 8, Prelude in F♯ minor
..
The missing dashes marking the range of crescendo is a frequent inaccuracy of Chopinesque first editions. In turn, it is more difficult to evaluate the extension of their range in FE (→EE). The reviser or engraver could have considered the markings in b. 12-13 ( category imprint: Differences between sources issues: Inaccuracies in GE , FE revisions |
|||||||||||
|
b. 9
|
composition: Op. 28 No. 8, Prelude in F♯ minor
..
In A (→FC→GE) there is a category imprint: Differences between sources issues: EE revisions , Cautionary accidentals , FE revisions |
lowering it to c
3. It would confirm that Chopin was convinced that accidentals before the 2nd and 8th demisemiquavers in each group are not necessary, since their pitch is determined by the preceding note, placed an octave lower. Similarly in the Prelude in E
in sources, literal reading
lowering g
) to be a natural ending of the crescendo and assumed that the missing dashes were a result of the composer's inadvertence. However, that reasoning is not as obvious as it seems at first glance – after the ascending progression in b. 9-10, based on the f pedal note, the following one and a half bar brings rather a momentary respite due to the descending sequence of half-bar cadences. Due to the above reason, in the main text we keep the version of