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b. 24
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In A one can see a crossing-out before the 4th demisemiquaver in the 3rd group. The placement of the crossing-out suggests that it could have been an accidental, considered superfluous, e.g. a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 24-26
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In the main text we reproduce the range of cresc. marked with dashes in accordance with the notation of A (→FE→EE). Dashes running almost until the end of b. 26 in FC was an arbitrary decision of Fontana or perhaps a mistake – the dashes in FC end more or less in a place where they would have ended if they had been written in A a line lower. The omission of the entire indication in GE is a patent mistake. category imprint: Differences between sources issues: Errors in GE , Fontana's revisions |
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b. 25-26
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In A the slurring, somewhat similar to the previous pair of bars, is unclear – the slur in b. 25, at the end of the line, suggests a continuation, which, however, is contradicted by the slur in b. 26, which begins only just over the 3rd demisemiquaver in the bar. Chopin corrected the slur in b. 26 by combining in the middle of the bar the initially written two slurs. Had he wanted to combine this slur with the previous one, he might have also corrected its beginning; consequently, we consider the fact of leaving the undoubtedly inaccurate beginning of the slur uncorrected to be an argument for divided slurs, which we give in the main text. category imprint: Graphic ambiguousness |
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b. 25-26
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composition: Op. 28 No. 8, Prelude in F♯ minor
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As a result of narrow spaces between the staves, in A it is uncertain which part the 6 long accents written there are supposed to concern. It also leads to doubts about their number – the marks applying to the R.H. part could be included in the range of the repeat signs used to mark the 2nd and 4th groups of demisemiquavers. This is how it was interpreted in all editions, where 8 marks were printed. According to us, the 6 (and not 8) accents are certainly supposed to emphasize the tenor voice, constituted by the topmost notes, marked with accents, of the L.H. figures. The change of all or some accents to short ones is a frequent arbitrary intervention of Chopinesque first editions. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE |
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b. 25-32
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composition: Op. 28 No. 8, Prelude in F♯ minor
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From the 2nd R.H. beat in b. 25 on, in A (→FC) Chopin marked the majority of repeated figures in both hands with conventional repeat signs (•/•). The editions did not use the abbreviation, which resulted in an erroneous interpretation of the accents in b. 25-26. category imprint: Differences between sources issues: Abbreviated notation of A |
, although the shape of the blotted-out area would rather point to an erroneously written note.
