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b. 7

composition: Op. 28 No. 10, Prelude in C♯ minor

Dotted minim in sources

Minim suggested by the editors
..

Holding the g note to the very end of the bar, as it was given in A and in all the remaining sources, is inconvenient from the pianistic point of view and practically imperceptible against the trill performed with pedal in the bass. Therefore, it is almost certainly a mistake of Chopin, who did not realize that in this bar – unlike in all analogous ones – the first note of the bar is not a part of the chord on the 3rd beat. 

category imprint: Editorial revisions

issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 7-8

composition: Op. 28 No. 10, Prelude in C♯ minor

Slur in A

No slur in FC (→GE) & FE (→EE)
..

The small slur combining the trilled crotchet with the quaver that opens the next bar was overlooked both in FC (→GE) and FE (→EE).

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 7

composition: Op. 28 No. 24, Prelude in D minor

..

Chopin started crossing out and correcting the R.H. part; afterwards, he decided to rewrite the entire bar, on the staves above. The changes probably concerned two elements:

  • rhythm in the 1st half of the bar, which initially did not include a semiquaver rest – ;
  • notation of the grace notes, which were small semiquavers in the crossed-out version.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 7

composition: Op. 28 No. 24, Prelude in D minor

Small quavers in A (→FE,FC→GE1)

Small semiquavers in EE & GE2 (→GE3)
..

Although the revisers of EE and GE2 used semiquavers in the group of small notes probably after analogous b. 25, Chopin wrote those notes as semiquavers also in the discussed bar – see the adjacent note. It cannot be ruled out that the change of semiquavers to quavers resulted from distraction at the time of copying this bar. Therefore, the version with semiquavers may be considered an acceptable variant of notation (actually, both versions indicate the same performance).

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 7-8

composition: Op. 28 No. 23, Prelude in F major

2 slurs in A

1 slur in FE (→EE)

Triplet slurs in bat 8 in FC (→GE)
..

In spite of the unequivocal notation of A, the L.H. slurs were reproduced erroneously both in FC (→GE) and FE (→EE). Fontana omitted both slurs of A; however, he provided the triplets in b. 8 with conventional slurs (he also did it in b. 12). In turn, it is difficult to say what could have prompted the engraver of FE to combine the slurs, which is contrary to the notation of A.

category imprint: Differences between sources

issues: Errors of FC