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b. 38
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composition: Op. 28 No. 24, Prelude in D minor
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In the main text we give the fingering entered into FES, which most probably comes from Chopin. category imprint: Differences between sources |
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b. 38
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composition: Op. 28 No. 24, Prelude in D minor
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In the main text we give long accents after A (→FC). However, both FE (→EE) and GE reproduced them as short accents. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE |
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b. 38-39
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composition: Op. 28 No. 24, Prelude in D minor
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In this case, it is difficult to attribute the different slurring of FC (→GE) to Fontana's carelessness – he may have assumed that Chopin meant such slurs, separated over the rest. The unequivocal slurs of A probably referred to the initial version of the melody (without rest), yet Chopin did not change them after having corrected the rhythm; moreover, in a few other places, he even combined slurs over rests – see b. 30-31 and 34-35. category imprint: Differences between sources issues: Fontana's revisions |
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b. 40
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composition: Op. 28 No. 24, Prelude in D minor
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In A Chopin probably changed the rhythm of the last two notes from quavers to a dotted rhythm. The correction is evidenced by the evenly spaced notes (the gap between the 1st and the 2nd notes is even slightly greater than between the 2nd and 3rd) as well as by the semiquaver beam, placed too low and clumsily, which suggests that it was added later. Similar corrections were probably introduced also into further bars – see b. 44-53. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Main-line changes , Dotted or even rhythm |
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b. 41-42
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composition: Op. 28 No. 24, Prelude in D minor
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There are no flats lowering a to a category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A |
in these bars in