mUltimate Chopin

Op. 28 No. 12, Prelude in G♯ minor

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b. 61-64

composition: Op. 28 No. 12, Prelude in G♯ minor

Slur in A (→FE→EE)

No slur in FC (→GE)
..

Fontana in FC (→GE) overlooked the L.H. slur.

category imprint: Differences between sources

issues: Errors of FC

b. 64

composition: Op. 28 No. 12, Prelude in G♯ minor

No markings in A (→FC→GE)

  in FE (→EE)
..

In the main text we do not include the pedalling markings added in FE probably by Fontana.

category imprint: Differences between sources

issues: FE revisions

b. 64-65

composition: Op. 28 No. 12, Prelude in G♯ minor

d tied in A (→FC→GE) & FE2 (→EE)

d repeated in FE1
..

The missing tie of d is an oversight of the engraver of FE1, corrected in FE2 (→EE).

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 68-69

composition: Op. 28 No. 12, Prelude in G♯ minor

..

In A one can see here crossings-out and corrections in both parts; however, we were able to decipher only some of the crossed-out versions. The 2nd beat of b. 68 could have featured e (with a ) in the L.H. and c1-g1 in the R.H. It must have been d-f that was on the 3rd beat in the L.H., perhaps as a correction of the version with d only. In the R.H., the top voice was not being changed, whereas the bottom one contained c1-f1 (to which Chopin eventually returned) and then a sole c1 note. At the beginning of b. 69 one can see two crossed-out L.H. crotchets – G-d-g, which were probably written first, and G-g.
See also b. 70.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes

b. 70

composition: Op. 28 No. 12, Prelude in G♯ minor

..

The first L.H. octave was being changed a few times in A. Among the crossed-out versions, there was certainly a G-g octave (first on the left) and most probably also an E-e octave (second on the left). The third crossed-out crotchet could have been a G-g octave (again) or a G-d-g chord. Anyway, it seems certain that the eventually written E-e octave is not a mistake, as supposed by many subsequent editors of collective editions.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes