Issues : Annotations in teaching copies
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b. 4
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composition: Op. 28 No. 9, Prelude in E major
category imprint: Differences between sources |
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b. 8
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composition: Op. 28 No. 9, Prelude in E major
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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 |
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b. 11
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composition: Op. 28 No. 9, Prelude in E major
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In A (→FE) and CGS, there are no accidentals in the L.H. part in the entire bar. Chopin's patent inaccuracy was corrected by Fontana in FC (→GE), who added naturals lowering G category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , Omission of current key accidentals , Fontana's revisions , Inaccuracies in A , Errors repeated in FE |
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