Issues : GE revisions
b. 1-10
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composition: Op. 28 No. 9, Prelude in E major
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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. category imprint: Differences between sources issues: GE revisions , Dotted rhythms and triplets , FE revisions |
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b. 2
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composition: Op. 28 No. 9, Prelude in E major
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The version of GE2 is a result of an arbitrary revision, provoked by a mistake committed in GE1 in the next triplet, i.e. a c was printed there instead of a d, which is a patent mistake. While correcting that place the reviser of GE2 probably started thinking that the middle notes of the triplets are to create an octave echo of the melodic notes in this entire fragment (b. 1-3 corresponding in GE to the first line of the text) and changed c to d also in the 2nd triplet. Consequently, none of the impressions of GE includes the correct text in this bar. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 6-11
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composition: Op. 28 No. 9, Prelude in E major
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As was the case in the Prelude No. 8 in F Minor, Chopin assumed that the middle notes of the triplets did not require an accidental if a respective accidental had been written before a top-voice note placed an octave higher. In A (→FC→FE) and CGS there is not a single out of 8 necessary accidentals – before c and d in b. 6, g in b. 7, c in b. 9-10, d in b. 10-11 and a before d in b. 11. The remaining editions added the majority of accidentals; however, none of them features a fully correct text: category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 7
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composition: Op. 28 No. 9, Prelude in E major
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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 |
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b. 8
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composition: Op. 28 No. 9, Prelude in E major
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In A (→FC,FE→EE1) and CGS there is no lowering b to b. Chopin's mistake, obvious in this context, was corrected in GE and EE2. The fact that Chopin was convinced of the presence of b in the preceding part of the bar is evidenced by the naturals written in A before B1 and b on the 4th beat of the bar. category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in FE , Errors repeated in EE |