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b. 4

composition: Op. 28 No. 9, Prelude in E major

Fingering written into FES

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 4

composition: Op. 28 No. 9, Prelude in E major

B in A (→FC→GE, →FE→EE)

c in CGS
..

The version of CGS must be a mistake of the copyist. Cf. a similar mistake of the engraver of GE1 in b. 2.

category imprint: Differences between sources

issues: Errors in CGS

b. 4

composition: Op. 28 No. 9, Prelude in E major

Slur in A (contextual interpretation→FC→GE)

No slur in FE (→EE) & CGS
..

In A this bar was written in two lines, which contributed to an ambiguous situation in the L.H. slurring – the slur written at the end of the 1st half of the bar, running from the F demisemiquaver, has no ending in the new line. In the main text we adopt a natural interpretation of that notation – cf. the short slurs in b. 2-3 – adopted in FC (→GE). In this situation, we consider the absence of the slur in FE (→EE) to be a mistake of the engraver.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Inaccurate slurs in A , Uncertain slur continuation

b. 4

composition: Op. 28 No. 9, Prelude in E major

Staccato dots in A (→FC→GE, →FE→EE)

No marks in CGS
..

The missing staccato dots in CGS are most probably an oversight of the copyist – cf. b. 1-3.

category imprint: Differences between sources

issues: Errors in CGS

b. 4-20

composition: Op. 28 No. 11, Prelude in B major

..

In A (→FC) b. 4, 8 and 20 are written in an abridged manner with •/• symbols, which indicate that the preceding bar should be repeated.

category imprint: Differences between sources; Source & stylistic information

issues: Abbreviated notation of A