The bottom note of the semiquaver chord is written in A imprecisely, as a result of which it is uncertain whether Chopin meant f
or g. The discrepancy occurred already among the first interpreters of the text – Fontana saw a g, whereas the engraver of FE – an f. According to us, it is the engraver that was right; he simply looked at the text – the note reaches quite deep into the space, yet it also covers the full width of the line, which is considered crucial when evaluating doubtful cases (in A one can find examples of similarly placed notes on lines, e.g. f a line higher, on the 2nd beat of b. 12). In turn, Fontana, a professional musician, having come across an imprecisely written note, interpreted it in accordance with what he had already seen in the Prelude – sequences of parallel sixths and thirds in b. 3-4, 7-8 and 12 and, above all, very similar b. 15-16. However, the difference in phrasing between b. 15-16 and 17-18 – the last two chords of the piece are separated with a rest and a slur – suggests a special meaning of this motif, ending and summarizing the entire Prelude. Therefore, a full dominant seventh chord seems to be more appropriate; however, stylistically speaking, both versions are absolutely possible.
category imprint: Graphic ambiguousness; Differences between sources
issues: Inaccurate note pitch in A
notation: Pitch
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