|
b. 8
|
composition: Op. 28 No. 9, Prelude in E major
..
Like in the remaining places in which the dotted rhythm and a triplet are juxtaposed, in the main text we give the notation of A. FC reproduced it inaccurately, yet it kept the synchronization of semiquavers; in turn, the notation of the editions is contrary to the convention used by Chopin. Exceptionally in this bar, in FE b, the last semiquaver, comes into contact with the bottom-voice a (probably due to lack of space), which suggests that they are to be played simultaneously, and moreover, in two teaching copies, on the 2nd, 3rd and 4th beats, we can see added dashes indicating a simultaneous performance of the semiquaver with the last quaver of the triplet. Consequently, the notation of the last three beats of that bar is equivalent to the notation of FC in those copies. category imprint: Differences between sources; Source & stylistic information issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ , Dotted rhythms and triplets |
|||||||
|
b. 9
|
composition: Op. 28 No. 9, Prelude in E major
..
Complementing the bass line with octaves seems to be advisable due to the shape of the motif (cf. b. 1), repeated in octaves in the next two bars (b. 10-11). The absence of those notes in the sources could have resulted from the limitations of the pianos at Chopin's disposal – their range did not go beyond C1 in the bass register. On the other hand, the absence of octaves can be linked to the category imprint: Editorial revisions issues: Constraint from piano range |
|||||||
|
b. 9
|
composition: Op. 28 No. 9, Prelude in E major
..
The difference in the length of the arms of the category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins |
|||||||
|
b. 9-11
|
composition: Op. 28 No. 9, Prelude in E major
..
From the last beat of b. 9 to the middle of b. 11, the L.H. octaves are written in A in an abridged manner, with 8. However, Chopin explicitly requested that the abbreviation not be used in print by writing the following note at the bottom of the page in A: "Il faudrait graver en notes les 8ves marquées dans la basse par 8." [One should engrave with notes the 8ves marked in the bass with 8]. Chopin had a hard time choosing the right wording for that note, which can be seen on the basis of the crossings-out and additions, which evidence that it was being gradually specified. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated octaves' notation |
|||||||
|
b. 9-12
|
composition: Op. 28 No. 9, Prelude in E major
..
In A one can see that in the entire second part of the Prelude the dotted rhythms in the R.H. part's top voice were devoid of both double dots and demisemiquavers. Chopin marked the first change by adding only a second dot next to the b quaver and a third beam to the following semiquaver/demisemiquaver. In the next ones he would also modify the position of the newly created demisemiquavers with respect to the triplets' third quavers. This confirms that placing the upper voice note vertically aligned with the corresponding lower voice quaver meant simultaneous performance, since hitting the demisemiquaver after the last quaver of the triplet required them to be separated in writing. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
dynamics at the beginning of the crescendo – the fact that Chopin did not dispose of B2 does not have to mean that he wanted to use it. Therefore, the version with octaves can be considered an acceptable variant. Cf. the Scherzo in C
Minor, Op. 39, 
in 