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b. 72
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composition: Op. 28 No. 12, Prelude in G♯ minor
..
In the main text we add cautionary sharps before d category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 75-80
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composition: Op. 28 No. 12, Prelude in G♯ minor
..
When interpreted literally, the dim. abbreviation fills an entire bar in A. It resulted in a difference in the placement of the indication between FC (→GE) and FE (→EE). According to us, the manner in which it was written down suggests that it is related to the 3rd beat of the bar, hence in the main text we prefer the placement proposed in FE (→EE). However, those editions overlooked the dashes marking the range of the dynamic change; we add them after A. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccuracies in A |
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b. 76
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composition: Op. 28 No. 12, Prelude in G♯ minor
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EE overlooked the dots lengthening the minim D category imprint: Interpretations within context; Differences between sources issues: Errors in EE |
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b. 77
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composition: Op. 28 No. 12, Prelude in G♯ minor
..
We add a cautionary category imprint: Editorial revisions |
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b. 78-79
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composition: Op. 28 No. 12, Prelude in G♯ minor
..
These bars were overlooked in FC (→GE). It is a typical mistake of copyists – the so-called haplography – where an element or fragment that should be written twice is written once; in this case, the discussed bars were overlooked, since they were very similar to b. 76-77 (which preceded them). Fontana committed such a mistake also in the Prelude No. 21 in B category imprint: Differences between sources issues: Errors of FC |
1 and a
to f
Major,