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b. 2-3

composition: Op. 28 No. 20, Prelude in C minor

Slur to bar 3 in A & CGS (literal reading)

Slur in bar 2, contextual interpretations of A (→FC→GE, →FE→EE) & CGS, slur in AB & ACh
..

When interpreted literally, the slur of A reaches the 1st chord in b. 3; however, neither FC (→GE) nor FE (→EE) interpreted it so. A whole-bar slur is also in AB and probably ACh (see the characterization of that autograph). A similar ambiguity concerning the range of that slur is to be found in CGS too. In the main text we give a slur reaching the last crotchet in b. 2, taking into account numerous examples of similar situations in which the inaccuracy of slurs written by Chopin is unquestionable – cf., e.g. the Prelude No. 21 in B, b. 13 and 31 or 38.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 2-4

composition: Op. 28 No. 20, Prelude in C minor

..

In AB all L.H. octaves starting from D1-D are written in an abridged manner with the con 8va indication.

category imprint: Source & stylistic information

issues: Abbreviated octaves' notation

b. 2

composition: Op. 28 No. 19, Prelude in E♭ major

e2 in A (→FC,FE→EE) & GE2 (→GE3)

g2 in GE1
..

The engraver of GE1 did not notice (considered it a mistake?) that the first two notes of the last triplet do not constitute the interval of an octave, unlike in the previous ones. The mistake was corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error , GE revisions

b. 2

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

41 written into FES, probable reading

51 written into FES, alternative reading

No teaching fingering
..

It is difficult to decipher the first of the two digits describing the change of fingers on the c2 minim in FES. At the first glance, it seems to be a three, which, however, cannot be obviously combined with the 2nd finger on a1 in b. 1. A close look reveals that the topmost part of the mark is vaguer, which suggests that it was written with a separate move. Therefore, a possible interpretation of that digit could be a five. It is also likely that it does not form a part of the mark at all, since it could be merely a trace of the pencil's move before the very act of writing. Such traces can occur when the writing person is in an inconvenient position, e.g. standing in front of a score placed on the music desk. In turn, the more distinct part of the entry resembles a four. The second and third interpretations result in pianistically natural solutions, i.e. the change of fingers from 5 to 1 or 4 to 1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 2

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

b in A (→FC,FE) & GE2 (→GE3)

a in GE1
..

The version of GE1 must be the engraver's mistake, corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions