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Issues : EE revisions
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b. 21-29
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composition: Op. 28 No. 22, Prelude in G minor
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In the 2nd half of b. 21, A (→FC) places an unjustified category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , GE revisions , Cautionary accidentals , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 27
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composition: Op. 28 No. 22, Prelude in G minor
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A (→FE,FC→GE) has no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omission of current key accidentals , Errors repeated in GE , Errors repeated in FE |
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b. 34
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composition: Op. 28 No. 22, Prelude in G minor
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The missing slur resulted from the oversights of Fontana and of the engraver of EE1. The slur was added in EE2; most probably after FE. category imprint: Differences between sources issues: EE revisions , Errors in EE , Errors of FC |
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b. 39-40
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composition: Op. 28 No. 22, Prelude in G minor
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The L.H. octaves at the beginning of these bars are notated in EE in an abbreviated form, with 8. category imprint: Source & stylistic information issues: EE revisions |
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b. 41
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composition: Op. 28 No. 22, Prelude in G minor
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In the main text we keep the Chopinesque notation of the grace note as small, non-slashed quaver. The remaining source versions are inauthentic – slashing grace notes was a constant manner of Fontana, while overlooked flags are one of the most frequent mistakes of FE. After all, in this context, those versions are equivalent, since Chopin quite often did not attach importance to the form of notation of grace notes – cf., e.g. the Prelude No. 2 in A Minor, b. 5 and analog., or the Mazurka in G Minor, Op. 24 No. 1, b. 41. category imprint: Differences between sources issues: EE revisions , Errors in FE , Fontana's revisions |
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