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b. 4-5

composition: Op. 28 No. 21, Prelude in B♭ major

..

In the main text we include the fingering entered most probably by Chopin into FES. In addition to digits, there is also a mark implying that the e1 note should be performed by the R.H., which the notation of FE completely ignores, since the note was moved to the bottom stave. An analogous hint, in the form of an additional quaver flag pointing upwards, is also in FEJ. In the main text, in which we keep the original division of the text between the staves, we do not include those annotations, since they are superfluous.
See the previous note. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 4

composition: Op. 28 No. 21, Prelude in B♭ major

Fingering digit written into FEJ

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEJ

b. 4-5

composition: Op. 28 No. 20, Prelude in C minor

Continuous slur in A (literal reading→FE→EE) & CGS

Separate slurs in A (contextual interpretation→FC→GE), AB & ACh
..

The slurs of A between b. 4 and 5 are ambiguous – the slur in b. 4, which ends the line, clearly suggests continuation, which is not confirmed by the slur in b. 5. The four-bar structure of the Prelude, emphasized by the change of register and dynamics, makes us consider the ending of the slur in b. 4 to be inaccurate, which is confirmed by the notation of both later album autographs.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Uncertain slur continuation

b. 4

composition: Op. 28 No. 15, Prelude in D♭ major

Fingering written into FES

Fingering in FES, less certain reading

No teaching fingering
..

In FES there is a small, diagonal line before a distinct fingering digit (2), which may be interpreted as 1, which would then refer to the e grace note. We do not include that possibility in the main text, since the meaning of that line is uncertain (not all pencilled marks in the Chopinesque teaching copies are interpreted in a satisfactory way; there are also some that probably do not carry any meaning at all – they are random traces of gestures of a hand holding the pencil – see, e.g. the 4th line on this page of FES, b. 17-21).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 4

composition: Op. 28 No. 15, Prelude in D♭ major

Quavers in A (→FE,FC→GE)

Semiquavers in EE
..

The change of quavers to semiquavers introduced by EE is right, as far as the rules of rhythmic notation are concerned. However, according to Chopin, the seemingly wrong original notation was most probably aimed at a calm, slightly slower performance of this figure. The same applies to b. 23.
See also b. 79 as well as the Prelude No. 18 in F Minor, b. 12, the Concerto in F Minor, Op. 21, 1st mov., b. 93 or the Nocturnes, Op. 9: No. 1 in B Minor, b. 73 and No. 2 in E Major, b. 16.

category imprint: Differences between sources

issues: EE revisions