mUltimate Chopin

Op. 28 No. 11, Prelude in B major

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b. 6

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

..

FE overlooked the  restoring e1 on the 5th R.H. quaver. The accidental was added in EE; it was also entered into FEJ, probably by Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FEJ

b. 12

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

f1 in A (→FC,FE→EE) & GE2 (→GE3)

c1-f1 in GE1
..

The version of GE1 must be a mistake – the engraver most probably saw a note where the stem and the ledger line meet in FC, the point of contact of which resulted in a small protrusion (such situations are also to be found in Chopin's autographs, where it can be difficult to settle them, cf., e.g. the Etude in A Major, Op. 10 No. 10, b. 76).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

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. 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. 24

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

..

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