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Op. 28 No. 9, Prelude in E major

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b. 1-10

composition: Op. 28 No. 9, Prelude in E major

Notation in A

Notation in FC

Notation in FE (→EE), GE & CGS
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We reproduce the dotted rhythms against the triplets in the R.H. in accordance with the notation of A (→FC), in which the semiquavers fall exactly over the 3rd quaver of the accompanying triplets. In FE (→EE) and GE the semiquavers were arbitrarily moved beyond the 3rd note of the triplets, contrary to the convention Chopin would use all his life. See the Nocturne in C Minor, Op. 27 No. 1, b. 5-13.
The issue of separating the top voice is related to the above problem. We adopt a notation (used in A undoubtedly on purpose, yet inconsistently) in which the top note of the chord is combined with the bottom ones with a stem. FC (→GE) and FE (→EE) considered it a superfluous complication and separated the voices. Such a notation is also to be found in CGS.

category imprint: Differences between sources

issues: GE revisions , Dotted rhythms and triplets , FE revisions

b. 1

composition: Op. 28 No. 9, Prelude in E major

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In A one can see a crossing-out proving that the time signature was changed from  to .

category imprint: Corrections & alterations; Source & stylistic information

issues: Changes of metre , Corrections in A , Deletions in A

b. 1

composition: Op. 28 No. 9, Prelude in E major

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The Prelude in E is the only piece by Chopin in which the R.H. part is written entirely in the bass clef on the top stave*. It is noteworthy that the composer opted for such a notation probably only just when writing A, which is evidenced by a bass clef added after the treble one and by the 1st R.H. chord, written and crossed out on the bottom stave. Therefore, one can assume that in the initial notation of the Prelude the entire R.H. part (perhaps without the topmost notes) was written on the bottom stave, in accordance with the Chopinesque common modus operandi – cf., e.g. Prelude in E Minor, No. 14 or Scherzo in C Minor, Op. 39, b. 1-6 and 9-14, 486-497 and 502-505. The above hypothesis is confirmed by the notation of the L.H. part – the stems of the entire part, even in the lowest register, point downwards (we do not keep it in our transcriptions). An understandable habit of beginning the top stave with a treble clef came out at the beginning of the 3rd and 4th lines of the text – in A one can see there crossings-out of fragments of treble clefs, with which Chopin wanted, as a matter of course, to open a new line.

* In general, Chopin carefully avoided introducing the bass clef on the upper staff. There are only a few examples of such notation, e.g. Variations in B, Op. 2, bars 50-51, 302-303, Polonaise in A, Op. 53, bars 153-154.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A

b. 1-4

composition: Op. 28 No. 9, Prelude in E major

Slurs in A (→FC→GE, →FE→EE)

No slurs in CGS
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In CGS there are no L.H. slurs in these bars (nor in the next ones, until b. 9). See b. 5-12.

category imprint: Differences between sources

issues: Errors in CGS

b. 2

composition: Op. 28 No. 9, Prelude in E major

2 slurs in A (→FE→EE) & CGS

Continuous slur in FC (→GE)
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Fontana's mistake in the interpretation of the slurs of A could have been caused by a slur from the next page of A clearly showing through the paper – a fragment of a slur of the Prelude in C Minor seems to combine the two slurs of A in this place.

category imprint: Differences between sources

issues: Errors of FC