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b. 3
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composition: Op. 28 No. 12, Prelude in G♯ minor
..
In A (→FE,FC→GE) there is no category imprint: Differences between sources; Editorial revisions issues: EE revisions , Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE |
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b. 3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In the main text we include the fingering entered into FESch, which could be coming from Chopin. Similar situations are in b. 6-7, 10, 12 and 15. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FESch |
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b. 3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A the category imprint: Source & stylistic information issues: Accidental below/above the note |
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b. 3-4
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A one can see that three accidentals were crossed out; it seems that Chopin wrote them "just in case." Afterwards, it turned out that they were superfluous – the category imprint: Source & stylistic information issues: Cautionary accidentals , Deletions in A |
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b. 3-15
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composition: Op. 28 No. 10, Prelude in C♯ minor
category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
restoring g
1 on the 3rd crotchet in the bottom R.H. voice. The mistake was noticed only in 
and the 
before the 9th and the 11th semiquavers in the bar are placed clearly lower than the notes they concern – more or less at the level of the 2nd ledger line. There is a similar situation in b. 19, although less distinct. Such a notation is often to be found in Chopinesque autographs, cf., e.g. the Etude in F Major, Op. 10 No. 8, 
3 and g
