mUltimate Chopin

Op. 28 No. 21, Prelude in B♭ major

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Rhythm

b. 4

composition: Op. 28 No. 21, Prelude in B♭ major

e1 on 6th quaver in A (→FE)

e1 on 6th quaver, L.H. finger 1 in EE1

e1 on 6th quaver, R.H. finger 2 in FES

e1 on 3rd beat, under slur in FC (→GE)

e1 on 3rd beat, no slur in EE2
..

Interpreting the top note of the 6th L.H. quaver, e1, as a R.H. crotchet on the 3rd beat of the bar is almost certainly Fontana's mistake. The copyist was most probably misled by the note having been written on the top stave, the poorly visible top fragment of the stem combining that note with c and the dot extending the g1 minim at the beginning of the bar having been crossed out in A (the crossing-out most probably provided for the discussed e1 to be performed with the right hand; in addition, it was probably to be completed by a crotchet rest, which Chopin, however, did not do). Having completed the rhythm of the R.H. melody with that note, Fontana also led to it the phrase mark encompassing the first phrase. The change in EE2 must have been introduced under the influence of GE1. In the main text we give the notation of A (→FE→EE1), supplemented by a crotchet rest.

To eliminate the possibility of creating incoherent combinations of variants from different notes, we include the fingering of EE and FES, which applies to the e1 quaver, here, in the variants including that quaver.

category imprint: Differences between sources

issues: EE revisions , Rhythmic errors , Deletions in A , Errors of FC , Inaccuracies in A

b. 6

composition: Op. 28 No. 21, Prelude in B♭ major

..

The crossing-out in A reveals the initial version of the beginning of this bar: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 50-52

composition: Op. 28 No. 21, Prelude in B♭ major

Minims g-g1 & f-f1 in A (→FC→GE1, →FE→EE)

Dotted minims in GE2 (→GE3)
..

Formally speaking, the revision of GE2 is justified – in the "voice" provided with a stem pointing upwards, the bar is incomplete. However, Chopin would rarely enter rests in such situations; an oversight of dots extending minims seems to be highly unlikely due to the fact that the notation of these chords was corrected a few times, including the crossed-out rest on the 3rd beat of b. 51.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , GE revisions , Deletions in A , Accompaniment changes , Changed phrase length

b. 58-59

composition: Op. 28 No. 21, Prelude in B♭ major

..

FE1 omitted the c1 and b notes isolated from the R.H. chords. The mistake was rectified in FE2 (→EE); however, the notation of A was not reproduced accurately – the added notes do not constitute a separate voice, continuing the d1 crotchet from b. 57.

category imprint: Differences between sources

issues: Errors in FE , Inaccuracies in FE , FE revisions