mUltimate Chopin

Op. 28 No. 10, Prelude in C♯ minor

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b. 3-15

composition: Op. 28 No. 10, Prelude in C♯ minor

Short accents in A, literal reading (→FC→GE, →FE→EE)

Long accents, our alternative suggestion
..

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 6-7

composition: Op. 28 No. 10, Prelude in C♯ minor

Slur to a in sources

Slur to g suggested by the editors
..

In the sources the slur reaches only the last semiquaver in b. 6. A comparison with analogous situations in b. 2-3, 10-11 and 14-15 proves that it is almost certainly a result of inaccuracy of A.

category imprint: Editorial revisions

issues: Inaccurate slurs in A

b. 7

composition: Op. 28 No. 10, Prelude in C♯ minor

Dotted minim in sources

Minim suggested by the editors
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Holding the g note to the very end of the bar, as it was given in A and in all the remaining sources, is inconvenient from the pianistic point of view and practically imperceptible against the trill performed with pedal in the bass. Therefore, it is almost certainly a mistake of Chopin, who did not realize that in this bar – unlike in all analogous ones – the first note of the bar is not a part of the chord on the 3rd beat. 

category imprint: Editorial revisions

issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 7-8

composition: Op. 28 No. 10, Prelude in C♯ minor

Slur in A

No slur in FC (→GE) & FE (→EE)
..

The small slur combining the trilled crotchet with the quaver that opens the next bar was overlooked both in FC (→GE) and FE (→EE).

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 8

composition: Op. 28 No. 10, Prelude in C♯ minor

Slur to 2nd beat in A (contextual interpretation→FC)

Slur to 3rd beat in FE (→EE) & GE
..

In A it is unclear whether the slur encompasses d1 on the 2nd beat of the bar or whether it aims for g1 on the 3rd beat. According to us, it is the former that is more likely – the slur symmetrically encompasses the notes played on the 2nd beat of both bars, which is an argument for a symmetrical interpretation of both its ends; since the beginning of the slur undoubtedly falls on the 2nd beat of the bar, its ending is also to be interpreted so. This is how it was interpreted and clearly written down by Fontana in FC, which was, however, ignored in GE.  

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions