Issues : FE revisions
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b. 14
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composition: Op. 28 No. 13, Prelude in F♯ major
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In A (→FC→GE) the e1-a category imprint: Interpretations within context; Differences between sources issues: FE revisions , Inaccuracies in A |
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b. 14
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composition: Op. 2, Variations, complete
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The b2 note, provided with a ten., is prolonged to a crotchet in A (→GE→FE,EE). It seems to be Chopin's mistake, since such a long value would have to be held also at the beginning of the 2nd half of the bar, which would certainly be a mistake. To avoid doubts, we change it to a quaver, almost exactly corresponding to its actual length. The fact that FESB omitted that extension could have resulted from that erroneous notation, with which the engraver did not know what to do. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , FE revisions |
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b. 14
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composition: Op. 63 No. 2, Mazurka in F minor category imprint: Differences between sources issues: Errors in FE , FE revisions |
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b. 15
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composition: Op. 44, Polonaise in F♯ minor
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In FE1 the top notes of the 7th and 8th R.H. semiquavers were printed a second higher (by mistake). Consequently, the 4 last octaves in this bar sound as follows when interpreted literally: d category imprint: Differences between sources issues: EE revisions , Errors in FE , FE revisions |
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b. 15
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composition: Op. 28 No. 18, Prelude in F minor
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In A there is no category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Fontana's revisions , Inaccuracies in A |
1 fourth is a minim without dots. It must be Chopin's oversight – cf. analogous b. 30 and similar b. 10, 13, 16, 29 and 32. Therefore, in the main text we include the addition introduced most probably by Fontana into 
before the top note of the L.H. chord on the 4th beat of the bar. The patent inaccuracy was already corrected in