Issues : Errors of FC
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b. 4-5
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A there is a phrase mark over b. 1-4 and also another one, which, when interpreted literally, starts from the 2nd quaver in b. 5. Therefore, nothing indicates Chopin's intention to combine them, hence the interpretations of both FC and FE must be considered erroneous (besides, the copyist considered the division of the phrase mark in b. 7-8 and 8-9 to be accidental too). Moreover, we assume that the beginning of the phrase mark in b. 5 is inaccurate in A; according to our interpretation, it starts from the 1st quaver. It is justified by the fact that in a few other situations Chopin equated a phrase mark beginning between the 1st and 2nd quavers to a phrase mark running clearly from the 1st quaver, e.g. b. 1 and 9 or 29 and 31. See also the note to b. 54-55. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccurate slurs in A , Errors of FC |
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b. 7-9
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composition: Op. 28 No. 12, Prelude in G♯ minor
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The slur over b. 8 encompasses in A 5 top-voice quavers. However, according to us, it is possible that Chopin meant a whole-bar slur, as reproduced in FE (→EE). The slurring of FC is definitely incompatible with the notation of A, although the situation between b. 8-9 is ambiguous in the copy – the slur in b. 8 (at the end of the line) suggests that it should be continued, whereas the slur in b. 9 rather does not. However, as b. 9 is not written out with notes, which impedes a reliable evaluation of the placement of the beginning of the slur, we take into account the ending of the slur in b. 8. This is how it was interpreted in GE too. category imprint: Graphic ambiguousness; Differences between sources issues: Errors of FC , Uncertain slur continuation |
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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. 15
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composition: Op. 28 No. 12, Prelude in G♯ minor
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The bottom note of the R.H. bottom voice on the 2nd crotchet is written too low in FC, as a result of which in GE1 it was interpreted as an e1. The patent mistake was corrected in GE2 (→GE3). category imprint: Differences between sources issues: GE revisions , Errors of FC , Errors repeated in GE |
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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 |
