Issues : Abbreviated notation of A
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b. 1-8
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A (→FC) these bars are numbered from 1 to 8. Those digits were then used to mark b. 41-48 in an abridged manner. Fontana used the first two digits to mark in such a way b. 9-10 too, which resulted in GE omitting the accents and moving the cresc. from b. 10 to b. 11. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A , Fontana's revisions |
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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. 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 designated by the •/• mark as a repetition of the previous bar. Similarly the R.H. part in bar 22. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 26
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A (→FC) Chopin wrote here only the top slur and pedalling markings. The remaining contents of this bar were marked as a repetition of the previous one with the help of two •/• marks. category imprint: Differences between sources issues: Abbreviated notation of A |
