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b. 6-7

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 6-14

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

Long accents in A

Short accents in FC (→GE) & FE (→EE)
..

In A all accents in b. 6, 8 and 14 are clearly long, which, however, was misunderstood both in FC (→GE) and FE (→EE).

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE , Inaccuracies in FC

b. 6

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

No accidentals (c-c1) in A (→FE,FC→GE1)

Naturals (c-c1) in EE

Flats (c-c1) in GE2 (→GE3)
..

Before the R.H. penultimate quaver Chopin wrote in A a cautionary  which he crossed out after having checked it was not essential. This proves the intended pitch to be c-c1 here. Therefore, the EE version is arbitrary – the reviser repeated here his amendment from the previous bar where he added (rightly there) naturals rising c-c1 to c-c1. We add cautionary flats in the main text here as GE2 already has done.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in EE , GE revisions , Cautionary accidentals , Deletions in A

b. 6

composition: Op. 28 No. 22, Prelude in G minor

..

In the main text, we add cautionary naturals to f2 and f1.

category imprint: Editorial revisions

b. 6-7

composition: Op. 23, Ballade in G minor

 in A

in FE (→GE,EE)
..

In A, the  hairpin is placed closer to the top stave; however, it is under the L.H. slur. Therefore, one can ponder to which part the mark refers, i.e. R.H. or L.H. According to us, the range of the mark, perfectly corresponding to the g1-b1 step, indicates that the mark applies to the R.H. part. Such ascending motifs, usually within the interval of a second, are often to be found in Chopin's works, while the accompanying  marks were often misinterpreted by the engravers of the first editions (just like here), cf., e.g. the Concerto in F minor, Op. 21, II mov., b. 84 or the Prelude in A minor, Op. 28 No. 2, b. 15-16. In FE (→GE,EE) the hairpin was put in a neutral place, i.e. between the right and the left hand, but it was extended to the entire three-note motif.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in A