|
b. 3
|
composition: Op. 28 No. 24, Prelude in D minor
..
The missing accent in FC (→GE) resulted from the distraction of the copyist, who overlooked the marks from the entire first line of A. In FE (→EE) this long accent was reproduced as a half-bar diminuendo hairpin, which more or less corresponds to the length of the mark in A, but does not include the fact that it should be placed under the a1 crotchet only. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Errors of FC |
||||||
|
b. 3-7
|
composition: Op. 28 No. 23, Prelude in F major
..
The fingering of EE in b. 3 does not come from Chopin; however, as is the case with a few other places, it may comply with the composer's fingering. An identical fingering was given in an analogous figure in b. 7. category imprint: Differences between sources issues: EE revisions |
||||||
|
b. 3
|
composition: Op. 28 No. 23, Prelude in F major
..
The crossings-out and additions visible in A reveal that Chopin initially provided each of the half-bar figures – in the right and left hands – with a separate slur. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
||||||
|
b. 3
|
composition: Op. 28 No. 22, Prelude in G minor
..
In A (→FE) there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors of A , Fontana's revisions , Errors repeated in FE |
||||||
|
b. 3
|
composition: Op. 28 No. 22, Prelude in G minor
..
The missing ties of c1 and e category imprint: Differences between sources issues: Errors in GE , GE revisions |
in 
raising f1 to f
1. The manifest inadvertence was rectified in 
1 are one of a few mistakes of the engraver of