Issues : Inaccuracies in FC
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b. 1-2
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composition: Op. 28 No. 21, Prelude in B♭ major
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In the main text we give the slur of FE (→EE), since the vast majority of subsequent slurs, present in a similar context, is led to the 1st quaver in the next bar in A – out of 13 slurs in b. 1-12 and 15, it is only the slurs in b. 1, 8 and 10 that end on the 6th quaver; two (in b. 6 and 9) are ambiguous. We consider all the above slurs to be inaccurate, since the differences in the range of slurs are not related to the structure of motifs, e.g. the shorter slurs in b. 1 and 8 are opposed by the longer ones in similar figures in b. 2 and 7. Moreover, in A one can see corrections – the slurs in b. 4-5 and 5-6 were being extended (in b. 3-4 probably too). Along with the crossed-out staccato dot at the beginning of b. 2, it may indicate that the concept of markings of those figures changed from category imprint: Differences between sources issues: Corrections in A , FE revisions , Omitted correction of an analogous place , Inaccuracies in FC |
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b. 2-4
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composition: Op. 28 No. 21, Prelude in B♭ major
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The ending of the slur from b. 2 led to b. 3 is hardly visible in A, which probably convinced Fontana that the slurs of L.H. figures were supposed to end on the last quaver in the bar, like in b. 1 (it is likely that it was only after he had seen the slurs in b. 5-6 and 6-7 that he realised that he was wrong and prolonged the slur in b. 4). In the case of beginnings of the slurs, even the correct interpretation of the slurs in b. 5-7 did not make him correct the previously written slurs or keep the notation of A in further bars (in A it is only the slurs in b. 9 and 15 that can be considered vague in this respect; the remaining ones clearly begin on the 2nd quaver). In the main text we give the notation of A (also in further bars). category imprint: Differences between sources issues: Inaccuracies in FC |
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b. 4-5
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composition: Op. 28 No. 21, Prelude in B♭ major
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In the main text we give the slur of A (→FE→EE). The slur of FC starts a quaver earlier, whereas GE also moved its ending, which made it resemble the previous slurs, thus consolidating a distorted image of articulation of these figures – see the notes in b. 1-2 and 2-4. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FC |
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b. 8-11
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composition: Op. 28 No. 21, Prelude in B♭ major
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When interpreted literally, 3 consecutive slurs of A reach only the last quaver in the bar; moreover, the starting point of the slur in b. 9 is also not entirely clear (we assume that it is the 2nd quaver). Due to the reasons discussed in b. 1-2, we consider them to be inaccurate; in the main text we generally adopt the slurs of FE (→EE), compliant with the manner in which Chopin would correct in A some slurs in similar figures. In b. 9-10 the notation of the topmost L.H. notes on the top stave and writing them closer to the b category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , FE revisions , Inaccuracies in FC |
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b. 10-11
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composition: Op. 28 No. 21, Prelude in B♭ major
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A late start of the slur is one of numerous slurring inaccuracies of Fontana in this Prelude – cf. the note to b. 2-4. category imprint: Differences between sources issues: Inaccuracies in FC |
1 to c1 in 
to 
. Consequently, the aforementioned shorter slurs would be uncorrected elements of the initial slurring.
