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b. 21-22

composition: Op. 28 No. 15, Prelude in D♭ major

No sign in A (→FCGE, →FEEE)

in FES

(), our variant suggestion

..

It is problematic to assess the range of the  hairpin entered into FES most probably by Chopin – the arms of the mark are clearly of a different length, which happened often to Chopin. According to us, it is the top arm that is reliable, probably written first, from right to left.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Scope of dynamic hairpins , Annotations in FES

b. 21

composition: Op. 28 No. 15, Prelude in D♭ major

No marking in A (→FCGE, →FEEE)

Slur in FES, possible interpretation

..

The pencilled mark written in FES over the L.H. part may be interpreted as a slur (the range of which would mimic the one of the slur in b. 81). However, it is uncertain whether it is a slur at all, hence we signalize this possibility as an alternative version only.

category imprint: Graphic ambiguousness; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FES

b. 22

composition: Op. 28 No. 15, Prelude in D♭ major

No extra a crotchets in A (→FCGE, →FEEE1)

Additional crotchet in EE2

2 additional crotchets suggested by the editors

..

In the main text we mark the use of "harmonic legato" in the L.H. part, as Chopin did in b. 3. The first a note was also prolonged in EE2.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 22

composition: Op. 28 No. 15, Prelude in D♭ major

Fingering written into FED

No teaching fingering

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 23

composition: Op. 28 No. 15, Prelude in D♭ major

Quavers in A (→FE,FCGE)

Semiquavers in EE

..

As was the case with b. 4 and 79, we keep Chopin's authentic notation as almost certainly intended by the composer.

category imprint: Differences between sources

issues: EE revisions