Articulation, Accents, Hairpins
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b. 4
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A (→FC) the L.H. part is marked in an abridged manner as a repetition of b. 3. When expanding on that abbreviation, both FE (→EE) and GE omitted the accent, probably considering it to refer to the R.H. However, Chopin would actually associate accents with the L.H., which is proven by the notation of b. 12, in which the accent is put over the L.H. chord. In FC, unlike in A, the accents in b. 1-3 are placed closer to the R.H. part, which somehow justifies the omission of the accent in GE, but not the addition of a staccato dot in this place. category imprint: Differences between sources; Source & stylistic information issues: GE revisions , Abbreviated notation of A , Inaccuracies in FC |
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b. 9-10
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composition: Op. 28 No. 12, Prelude in G♯ minor
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The abridged notation of these bars in FC creates confusion in the application of performance marks – accents, cresc., pedalling. We assume that the notation is compliant with the notation of A (except cresc.); however, GE interpreted it differently – the accents were omitted, and the pedalling marks were repeated. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FC |
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b. 12
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composition: Op. 28 No. 12, Prelude in G♯ minor
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The missing accent and staccato dots in FC (→GE) are most probably an oversight of Fontana, particularly since the dots in A are very poorly visible in this bar. In turn, the missing accent could be related to Fontana's conviction that the accents in this theme refer to the R.H. – see the note in b. 4 – hence he did not expect such marks while copying the L.H. part. category imprint: Differences between sources issues: Errors of FC |
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b. 21-22
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composition: Op. 28 No. 12, Prelude in G♯ minor
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The missing staccato dots in FC in b. 22 and in GE, in both bars, are probably an oversight of the copyist and of the engraver. category imprint: Differences between sources issues: Errors in GE , Errors of FC |
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b. 37-38
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composition: Op. 28 No. 12, Prelude in G♯ minor
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Five clear long accents in A were not correctly reproduced in any other source. In FC it is the last two and possibly the first one with arms of different length that could be considered long; we assume that it is only the last two accents that are long. FE and GE contain common, short accents, which was the most common way the Chopinesque long accents were interpreted by the engravers. The vertical accents of EE resulted from an arbitrary practice, typical of that edition. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in FE , Inaccuracies in FC |
