Issues : FE revisions
b. 1-10
|
composition: Op. 28 No. 9, Prelude in E major
..
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. category imprint: Differences between sources issues: GE revisions , Dotted rhythms and triplets , FE revisions |
||||||||
b. 7
|
composition: Op. 28 No. 9, Prelude in E major
..
When interpreted literally, the chord on the 3rd beat of the bar in A (→FC) consists of the following notes: F1-F-b-d1-f1, which, in turn, results in a G major chord (F major), which could be a part of this harmonic sequence. However, Chopin would generally avoid such an unnatural orthography; therefore, he most probably overlooked here the naturals lowering all f notes to f. They were added both in FE (→EE) and GE, and the composer did not question the printed naturals in any of the three teaching copies containing annotations coming from him. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Errors of A , FE revisions |
||||||||
b. 12
|
composition: Op. 28 No. 9, Prelude in E major
..
Chopin would often leave the last mark without the closing asterisk – cf., e.g. the Prelude No. 7 in A Major. Therefore, the mark added in FE, most probably by Fontana, almost certainly does not correspond to Chopin's intention. The presence of a in CGS is one of many details pointing to FE being the basis of that copy. category imprint: Differences between sources issues: FE revisions , No pedal release mark |