Ornaments
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b. 41
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composition: Op. 28 No. 22, Prelude in G minor
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It is unclear how the two curved lines written in A before the chord with a grace note should be understood. It is certain that they determine the division between hands; however, they can also indicate an arpeggio (both or the top one only). Both Fontana in FC (→GE) and the engraver of FE (→EE) interpreted Chopin's notation as an arpeggio. Nevertheless, although Chopin would often mark arpeggios with vertical curved lines, particularly later in life, in the autograph of the Preludes he still used conventional, vertical wavy lines – cf. the Prelude No. 10 in C category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Fontana's 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 |
Minor, the endings of the Prelude No. 2 in A Minor, No. 3 in G Major, No. 5 in D Major, No. 8 in F
