Issues : FE revisions
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b. 9-25
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composition: Op. 28 No. 24, Prelude in D minor
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In b. 9 and 20-25 the L.H. part in A (→FC) is marked with •/• signs as repetition of the preceding bar. The abridged notation is used in the manuscripts also to mark the 2nd half of the bar in b. 11-15 and 17-19. In b. 21-25 a similar notation was also used in FE, where the second halves were marked with a / sign. category imprint: Differences between sources issues: FE revisions |
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b. 17
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composition: Op. 28 No. 24, Prelude in D minor
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In A there are no naturals raising b category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Omission of current key accidentals , FE revisions , Fontana's revisions , Inaccuracies in A |
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b. 22
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composition: Op. 28 No. 24, Prelude in D minor
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In A there is no dot extending the a crotchet, which is a patent oversight. The dot is present in all the remaining sources. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , FE revisions , Fontana's revisions |
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b. 25
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composition: Op. 28 No. 24, Prelude in D minor
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In A there are no naturals raising b category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Errors of A , FE revisions , Fontana's revisions |
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b. 26-42
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composition: Op. 28 No. 24, Prelude in D minor
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In b. 26, 27 and 40, the L.H. part in A (→FC) is marked with •/• as repetition of the preceding bar. Abridged notation is used in the manuscripts also to mark the 2nd half of the bar in b. 29-37, 39 and 41-42. Out of the editions, in was only FE that used a similar notation, although to a lesser extent – in all the aforementioned bars, their second halves were marked with a / mark. category imprint: Differences between sources issues: Abbreviated notation of A , FE revisions |
to b and B
only before the grace note, while in