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b. 7

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

Quaver a in A (→FC→GE, →FE→EE1)

Crotchet in EE2
..

Following in the footsteps of the reviser of EE2, in the main text we suggest adding an additional crotchet stem next to a in the 2nd half of the bar after analogous b. 3. In further analogous bars (b. 22 and 78) respective extensions are not to be found any more in A (both in the 1st and the 2nd halves of the bar). Marking the first appearance of a given phrase in a more accurate manner was Chopin's frequent practice, hence the absence of those stems does not have to be considered an oversight. However, in the case of such single details, yet important for the sonic atmosphere, recurring at significant intervals, we consider it right to add the omitted elements of notation.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 7

composition: Op. 28 No. 13, Prelude in F♯ major

Slur in A

No slur in FC (→GE) & FE (→EE)
..

The slur of A, although perfectly visible, was, nevertheless, 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. 13, Prelude in F♯ major

Small crotchet in A (→FC,FE→EE)

Crotchet in GE1

Acciaccatura in GE2 (→GE3)
..

In this place, Fontana faithfully reproduced the long grace note of A, which was, however, distorted in GE1. The mistake was rectified in GE2 (→GE3) by changing the crotchet to a common short grace note.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 7-9

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

3 slurs in A, literal reading

3 slurs in A (possible interpretation→FE→EE)

Continuous slur in FC (→GE)
..

The slur over b. 8 encompasses in A 5 top-voice quavers. However, according to us, it is possible that Chopin meant a whole-bar slur, as reproduced in FE (→EE). The slurring of FC is definitely incompatible with the notation of A, although the situation between b. 8-9 is ambiguous in the copy – the slur in b. 8 (at the end of the line) suggests that it should be continued, whereas the slur in b. 9 rather does not. However, as b. 9 is not written out with notes, which impedes a reliable evaluation of the placement of the beginning of the slur, we take into account the ending of the slur in b. 8. This is how it was interpreted in GE too.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors of FC , Uncertain slur continuation

b. 7

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

     in A (→FE,FC→GE)

    in EE
..

The missing  signs in EE result almost certainly from engraver's negligence.

category imprint: Differences between sources

issues: Errors in EE