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b. 12
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composition: Op. 28 No. 18, Prelude in F minor
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Formally speaking, the version of GE is justified here; however, it is highly likely that Chopin wrote this group in semiquavers (like all the others) because he did not want to unnecessarily suggest a significant acceleration of movement. Such a notation is to be found in his pieces on a number of occasions – cf., e.g. the Prelude in D category imprint: Differences between sources issues: GE revisions |
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b. 12
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composition: Op. 28 No. 18, Prelude in F minor
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In the main text, we include the fingering coming most probably from Chopin, and written into FED. category imprint: Differences between sources |
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b. 12
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composition: Op. 28 No. 18, Prelude in F minor
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In A (→FC,FE1) there are no accidentals before the last semiquaver (in both hands), which, when interpreted literally, gives d1 and d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 12
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composition: Op. 28 No. 18, Prelude in F minor
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In A (→FC→GE) there are no naturals before d2 and b1, since Chopin considered the previous accidentals before d3 and b2 to be valid. In FE (→EE), in which the first part of the roulade was written without an octave sign, respective naturals were added. category imprint: Differences between sources; Source & stylistic information issues: Accidentals in different octaves , FE revisions |
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b. 12
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composition: Op. 28 No. 18, Prelude in F minor
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Chopin initially wrote here the same pedal markings as in the 3 previous bars; eventually, however, he moved the category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
major no. 15, 
was added, yet only in the R.H., where it is a cautionary accidental. 
mark to the end of the bar.