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Issues : Errors in FE

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b. 4-5

composition: Op. 28 No. 12, Prelude in G♯ minor

Separate slurs in A

Continuous slur in #KC (→GE) & FE (→EE)
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In A there is a phrase mark over b. 1-4 and also another one, which, when interpreted literally, starts from the 2nd quaver in b. 5. Therefore, nothing indicates Chopin's intention to combine them, hence the interpretations of both FC and FE must be considered erroneous (besides, the copyist considered the division of the phrase mark in b. 7-8 and 8-9 to be accidental too). Moreover, we assume that the beginning of the phrase mark in b. 5 is inaccurate in A; according to our interpretation, it starts from the 1st quaver. It is justified by the fact that in a few other situations Chopin equated a phrase mark beginning between the 1st and 2nd quavers to a phrase mark running clearly from the 1st quaver, e.g. b. 1 and 9 or 29 and 31. See also the note to b. 54-55.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Inaccurate slurs in A , Errors of FC

b. 4-5

composition: Op. 28 No. 17, Prelude in A♭ major

First slur to a1 in A, literal reading

First slur to end of bar 4 in FC (→GE)

Continuous slur to bar 10 in FE (→EE)
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The range of the slur in b. 4 is unclear in A – it can be interpreted as a slur dragged to the a1 crotchet or as an unfinished slur/tenuto encompassing that crotchet along with the bottom voice quavers that fill it (as was reproduced by Fontana in FC). As it is slurs/tenutos that prevail in similar situations in the entire Prelude – particularly consistently from b. 65 on – in the main text we give such a slur. The continuous slur of FE (→EE), certainly contrary to the notation of A, probably resulted from the engraver's carelessness.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Inaccurate slurs in A , Tenuto slurs

b. 4

composition: Op. 28 No. 14, Prelude in E♭ minor

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The 4th L.H. quaver is written in A slightly to low, so as to be reproduced in FE (→EE1) as d (in spite of a distinct e1 in the R.H.). EE2 corrected the error.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Inaccurate note pitch in A , Errors repeated in EE

b. 5

composition: Op. 10 No 10, Etude in A♭ major

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The hook at the bottom of the natural raising d3 to d3, resulting from haste while writing A, was initially interpreted in FE as a flat before f2. The mistake was then corrected. 

category imprint: Source & stylistic information

issues: Errors in FE , Authentic corrections of FE

b. 5-6

composition: Op. 25 No 11, Etude in A minor

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FE overlooked the general part of the octave sign over the initial, highest fragment of figuration (in the majority of the sources, including FE, it embraces also half of bar 6). The only visible trace of the indication is the word loco, which was used to end the octave sign in the times of Chopin. This patent error was corrected in FED and FEJ.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Annotations in FEJ