Issues : GE revisions
b. 7-12
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composition: Op. 28 No. 20, Prelude in C minor
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Due to the fact that b. 9-12 were added in the last phase of composing the Prelude and due to the abridged notation of those bars in A, it is uncertain how many ritenutos Chopin planned and where exactly. There are three possibilities, all are present in the sources:
According to us, musically speaking, it is the ritenuto in b. 11-12 that is most natural, where, along with crescendo, it leads to the final fermata. We suggest this version (based on the assumption that Chopin did not fully adjust the notation of the Prelude to the new formal concept) in the main text. category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Inaccuracies in CGS |
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b. 8-12
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composition: Op. 28 No. 20, Prelude in C minor
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The missing restoring d1 is almost certainly an oversight of Chopin in A (→FC,FE), which is proven by the naturals in AB, ACh and the one added in b. 8 in FES. The accidentals were also added by the revisers of GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A , Errors repeated in FE |
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b. 9
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composition: Op. 28 No. 20, Prelude in C minor
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The fact that the indication was repeated in GE1 resulted from distraction of the engraver; he did not notice (did not understand?) the indication written in the abridged marking of that bar in FC. The mistake was rectified in GE2 (→GE3). See also the note to b. 11-12. category imprint: Differences between sources issues: Errors in GE , GE revisions |