mUltimate Chopin

Op. 28 No. 11, Prelude in B major

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b. 21

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

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The slur combining the grace note with the f2 minim in A was omitted in all the remaining sources. See the note below.

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 21

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

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In FE (→EE) we can see an  mark at the beginning of the bar. It is a result of misunderstanding the notation of A – see the preceding note.

category imprint: Differences between sources

issues: Errors in FE

b. 23

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

Separation mark in FED

Our variant suggestion
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The mark, added most probably by Chopin in FED, probably indicates a small caesura inside the phrase. In the main text we include that marking in a variant form (in brackets).

category imprint: Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FED

b. 24

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

No pedal in A, contextual interpretation

  in FC (→GE) & FE (→EE)
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In the 1st half of the bar, the only mark in A is a , without a , which should precede it. Both FC (→GE) and FE (→EE) considered it an oversight and added a  at the beginning of the bar. However, it may be likely that Chopin's mistake consisted in placing the  asterisk cancelling the  mark from b. 21 too far and leaving it there (not crossing it out), in spite of adding the right  mark at the end of b. 22. We consider this interpretation to be more likely and give it in the main text.

category imprint: Differences between sources

issues: Errors resulting from corrections , Errors of A , FE revisions , Fontana's revisions

b. 24

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

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The crossing-out in the L.H. part visible in A allows us to decipher the initial version of the 2nd crotchet of the bar as an arpeggiated F-a tenth. According to us, the pedalling markings added in the 2nd half of the bar were related to the wide L.H. span of that version. After changing the tenth to a third, Chopin left the pedalling markings (not necessary in terms of harmony); he could have assumed that pedal would enrich the sound of this final dominant chord (provided with an accent!) regardless of the span of the chord, be it small or big.

category imprint: Corrections & alterations; Source & stylistic information

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