mUltimate Chopin

Op. 28 No. 8, Prelude in F♯ minor

Text Compare Notes Sources Description

Issues : EE revisions

b. 14-21

composition: Op. 28 No. 8, Prelude in F♯ minor

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As was the case in b. 3-4, in A Chopin generally omits accidentals next to the bass quavers if the accidentals have been written an octave higher next to one of the preceding semiquavers. In the discussed bars, it concerns G in b. 14, B in b. 15-18, f in b. 20 and g in b. 21. That notation was literally repeated in FE; FC repeated it almost without changes (the only addition was a  next to B in b. 16). EE1 added the majority of the necessary accidentals – all except for the  of G in b. 14, while the remaining editions contain a fully correct notation.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 15-18

composition: Op. 28 No. 8, Prelude in F♯ minor

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In A (→FC,FE) there is no  lowering f to f in the 3rd L.H. figure of each of these bars. Interestingly enough, Chopin was convinced that there was no need for an accidental here, since he crossed it out the first time (in b. 15). All naturals were added in GE and EE. 

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Deletions in A , Errors repeated in FE

b. 15-18

composition: Op. 28 No. 8, Prelude in F♯ minor

Coninuous slurs in A (→FE), probable interpretation
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In A (→FE) b. 15 and 17 fall at the end of the line, and the slurs running over them go quite clearly beyond the bar lines, thus suggesting a continuation. However, the slurs in b. 16 and 18 rather do not confirm that. In FC (→GE) Fontana interpreted them as divided; separate slurs are also to be found in EE. In the main text we interpret them as combined, which is compliant with the structure of this fragment, consisting of a two-bar phrase presented twice in contrasting dynamics.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccurate slurs in A , Uncertain slur continuation

b. 18

composition: Op. 28 No. 8, Prelude in F♯ minor

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The engraver of EE1 overlooked  restoring d2 on the 4th demisemiquaver on the 2nd beat. The accidental was added in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 22

composition: Op. 28 No. 8, Prelude in F♯ minor

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The  (cautionary?) present in all sources before d1 in the 3rd L.H. figure is almost certainly a remaining part of the initial notation of the quavers in the 1st half of the bar, which were written down as d1. After the notation had been changed, the  was no more necessary, hence we omit it in the main text. In the same 3rd L.H. figure, one can see in A a crossed-out  before c2. The accidental is not necessary, yet, due to c3 in the R.H., we give it in the main text. It was most probably for the same reason that it was also added in FE2 (→EE), also in the 4th figure. EE repeated in the 4th figure also the  before d1.

category imprint: Editorial revisions; Corrections & alterations; Source & stylistic information

issues: EE revisions , Corrections in A , Cautionary accidentals , Deletions in A , Enharmonic corrections , FE revisions