mUltimate Chopin

Op. 28 No. 23, Prelude in F major

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b. 20-21

composition: Op. 28 No. 23, Prelude in F major

..

In order for the notes on the ledger line to be visible, Chopin would make their noteheads look like short, vertical dashes, and not round dots, as it is on the stave. The bottom part of such a dash could be quite long, which confused the interpreters a few times, who would see it as an additional crotchet stem. The fifth semiquaver in each of these bars illustrates this phenomenon well. Cf., e.g. the Mazurka in B Minor, Op. 24 No. 4, b. 23. 

category imprint: Source & stylistic information

issues: Uncertain notes on ledger lines

b. 20

composition: Op. 28 No. 23, Prelude in F major

No slur in A (→FC→GE, →FE→EE1)

Slur in EE2
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The slur added in EE2 was most probably patterned after the authentic slurs in bars 3, 7 and 11.

category imprint: Differences between sources

issues: EE revisions

b. 21

composition: Op. 28 No. 23, Prelude in F major

e2 in A (→FC→GE1, →FE→EE) i GE3

c2 in GE2
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Replacing the e2 seventh with a non-dissonant c2 fifth shows that, 30 years after the Prelude had been written, its authentic ending was still uncommon, even flagrant for the reviser of GE2, who would still think conventionally. They decided to change the note in spite of the fact that both the flat before the note and the accent above it exclude any possibility of mistake in this place.

category imprint: Differences between sources

issues: GE revisions

b. 21

composition: Op. 28 No. 23, Prelude in F major

No fingering in A (→FE,FC→GE)

Fingering in EE
..

Nothing indicates that the fingering in EE could have come from Chopin.

category imprint: Differences between sources

issues: EE revisions

b. 21

composition: Op. 28 No. 23, Prelude in F major

No fingering in A (→FE,FC→GE)

Fingering in EE
..

Nothing indicates that the fingering in EE could have come from Chopin.

category imprint: Differences between sources

issues: EE revisions