mUltimate Chopin

Op. 28 No. 24, Prelude in D minor

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b. 49-50

composition: Op. 28 No. 24, Prelude in D minor

a1 tied in A (→FE,FC→GE) & EE2

a1 repeated in EE1
..

The missing tie of a1 is a mistake of the engraver of EE1, corrected in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 50-51

composition: Op. 28 No. 24, Prelude in D minor

2 slurs in A (probable interpretation→FC→GE)

Continuous slur in A (possible interpretation→FE→EE)
..

In A the slur in b. 50, which ends the line, suggests that it should be continued, which is, however, not confirmed by the new slur in b. 51. According to us, it is the ending of the slur in b. 50 that is inaccurate; this is how it was interpreted by Fontana in FC (→GE). The version of FE (→EE) may be considered an alternative interpretation of the ambiguous notation of A.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Uncertain slur continuation

b. 50

composition: Op. 28 No. 24, Prelude in D minor

No marking in A (→FC→GE, →FE→EE)

Long accent in FES, possible interpretation
..

The pencilled addition in FES, big but vague, could be a  mark or – which, according to us, is much more likely – a long accent. The best candidate for an accent seems to be the dotted b1-b2 quaver; however, due to the above interpretation being surrounded by uncertainties, we do not suggest it in the main text.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 51

composition: Op. 28 No. 24, Prelude in D minor

 in A (contextual interpretation→FC→GE)

 in A (literal reading→FE→EE)
..

The dynamic mark in A is vague. The two partially overlapping  marks, out of which the second is much clearer than the first, can be interpreted twofold:

  • Chopin considered the first mark to be poorly visible; while entering the second one, he wanted to avoid it being possibly overlooked by the interpreters. This is how it was interpreted by Fontana in FC (→GE);
  • the second  was added to change the indication to . This is how it was interpreted by the engraver of FE (→EE).

According to us, it is  that fits better between two crescendos than  –  in b. 50 and cresc. in b. 52-54 – leading from  in b. 46 to  in b. 55, hence this is the version we give in the main text.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in A

b. 54

composition: Op. 28 No. 24, Prelude in D minor

..

The crossing-out visible in A at the end of the bar probably concerned the  mark; Chopin started writing it, yet having realised that a pedal change was superfluous, he stopped and crossed it out. Crossings-out of those marks in similar situations are also to be found at the end of b. 9, 20 and 41.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A