mUltimate Chopin

Op. 28 No. 11, Prelude in B major

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b. 13

composition: Op. 28 No. 11, Prelude in B major

..

In A one can see that Chopin initially wrote e as the 1st quaver; it was only afterwards that he crossed it out and replaced it with E. See also the Prelude in A Major, b. 13 and 15.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 16-17

composition: Op. 28 No. 11, Prelude in B major

Continuous slur in A (contextual interpretation→FE→EE)

Separate slurs in A (literal reading→FC→GE)
..

B. 16 falls in A at the end of the page, while the slurs are ambiguous – the ending of the slur in b. 16 goes slightly beyond the bar line, which may suggest continuation; however, it is not confirmed by the beginning of the slur in b. 17. In FC (→GE) Fontana considered it to be divided slurs, which, from the graphical point of view, is more likely. However, a comparison with analogous situations in b. 4-5 and 8-9, in which – particularly in the former – A features undoubtedly continuous slurs, tips the balance of probability in favour of the interpretation of FE (→EE), according to us.

category imprint: Differences between sources

issues: Inaccurate slurs in A

b. 18

composition: Op. 28 No. 11, Prelude in B major

..

We adda a cautionary  before e1 in the main text. The accidental was also added in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 20-21

composition: Op. 28 No. 11, Prelude in B major

Separate slurs in A (→FE), contextual interpretation & EE

Overlapping slurs in A, literal reading

Continuous slur in FC (→GE)
..

The slurs of A between b. 20 and 21 may be questionable – when interpreted literally, the latter begins before the bar line, which could be interpreted as two slurs coinciding on the f2 quaver. However, according to us, it is an inaccuracy that is more likely – cf., e.g. . In FC (→GE) Fontana assumed – wrongly, according to us – that Chopin wanted to combine both slurs here. In FE the slurs are ambiguous; however, it is not related to the notation of A, since in that edition continuation is suggested by the ending of the first slur (in b. 20, at the end of the line), which is not confirmed by the new slur in b. 21.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccuracies in FE , Inaccurate slurs in A , Errors of FC

b. 21

composition: Op. 28 No. 11, Prelude in B major

Long, tied grace note in A

Short, not tied grace note in FC (→GE)

, no grace note in FE (→EE1)

 & grace note in EE2
..

We reproduce the grace note and the curved lines in principle after the notation of A, in which, however, the slur running from the grace note to the f2 minim is led under the notes and overlaps with the tie of the grace note, pointing downwards. It confused the interpreters of A:

  • in FC (→GE) the copyist omitted both slur and tie and provided the grace note with a conventional form of a slashed quaver, which was typical of him;
  • the engraver of FE (→EE1) combined the grace note and the overlapping slur and tie in one mark – .

EE2 supplemented the FE version with a grace note taken from GE1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors of FC , Fontana's revisions