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b. 3

composition: Op. 28 No. 4, Prelude in E minor

..

One can see traces of changing the pitch of the bottom note in the last pair of chords in As. On the basis of the photocopy at our disposal, however, it seems impossible to determine whether f was changed to e or the other way round. We assume that Chopin changed his mind only once and that it is the text of As after corrections that is compliant with the final version.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 3-5

composition: Op. 28 No. 4, Prelude in E minor

Separate slurs in As (bars 4-5)

Continuous slur in A (→FC→GE, →FE→EE)

Separate slurs in CGS (bars 3-4)
..

The divided slurs in As are rather an evidence of Chopin's structural thinking at the time of writing down the idea of the Prelude than a performance indication. The broken slur of CGS is an inaccuracy of notation at the transition to a new line.

category imprint: Differences between sources; Corrections & alterations

b. 3-4

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No fingering in A (→FE,FC→GE)

Fingering in EE

Fingering suggested by the editors, based on FES & FEJ
..

In the main text we give the fingering of FEJ, complemented at the beginning of b. 3 by the digits drawn from FES, compliant with it in the part where it is written. In FEJ one can see corrections of fingering – in b. 3, '4' was changed to '3' over the d2 semiquaver, while in b. 4 the last three notes were initially provided with the following digits: 1 2 3.We assume that the change was introduced or indicated by Chopin. The authenticity of the initial version, which is otherwise completely natural in terms of piano performance, is more problematic, and the authenticity of the indication of EE, which is compliant with it, is practically ruled out. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Annotations in teaching copies , EE revisions , Annotations in FES , Annotations in FEJ

b. 3-4

composition: Op. 28 No. 6, Prelude in B minor

  in A, contextual interpretation

  in A (possible interpretation→FC)

  in FE (→EE)

  in GE

No markings in CGS
..

As was the case with b. 1-2, we consider the top arm of the  hairpin in A to be reliable. In all the remaining sources (except for CGS, in which the marks were overlooked), it was the range of the bottom arm that was taken into account. In the editions, both marks were extended or moved, most probably after their own, general editorial principles.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in A

b. 3-4

composition: Op. 28 No. 7, Prelude in A major

Pedalling in A (→FC→GE, →FE→EE)

Incomplete pedalling in CXI

No markings in CGS
..

It is either inaccuracy of the copyist or a conscious simplification of notation by George Sand (see also b. 1-2), who knew the piece well, that are probably responsible for an almost complete absence of pedalling indications in CGS (apart from the  mark at the beginning of the piece). Due to the differences in the placement of the  marks, we discuss b. 5-10 and 13 separately.

category imprint: Differences between sources