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Issues : FE revisions

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b. 1-10

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

Notation in A

Notation in FC

Notation in FE (→EE), GE & CGS
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We reproduce the dotted rhythms against the triplets in the R.H. in accordance with the notation of A (→FC), in which the semiquavers fall exactly over the 3rd quaver of the accompanying triplets. In FE (→EE) and GE the semiquavers were arbitrarily moved beyond the 3rd note of the triplets, contrary to the convention Chopin would use all his life. See the Nocturne in C Minor, Op. 27 No. 1, b. 5-13.
The issue of separating the top voice is related to the above problem. We adopt a notation (used in A undoubtedly on purpose, yet inconsistently) in which the top note of the chord is combined with the bottom ones with a stem. FC (→GE) and FE (→EE) considered it a superfluous complication and separated the voices. Such a notation is also to be found in CGS.

category imprint: Differences between sources

issues: GE revisions , Dotted rhythms and triplets , FE revisions

b. 1

composition: Op. 28 No. 1, Prelude in C major

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category imprint: Differences between sources; Source & stylistic information

issues: Errors in FE , FE revisions

b. 1-2

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

Slur from f to c1 in A

Slur from B1 to c1 in FC (→GE)

Slur from f to B in FE (→EE)
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In the main text we give the slur of FE (→EE), since the vast majority of subsequent slurs, present in a similar context, is led to the 1st quaver in the next bar in A – out of 13 slurs in b. 1-12 and 15, it is only the slurs in b. 1, 8 and 10 that end on the 6th quaver; two (in b. 6 and 9) are ambiguous. We consider all the above slurs to be inaccurate, since the differences in the range of slurs are not related to the structure of motifs, e.g. the shorter slurs in b. 1 and 8 are opposed by the longer ones in similar figures in b. 2 and 7. Moreover, in A one can see corrections – the slurs in b. 4-5 and 5-6 were being extended (in b. 3-4 probably too). Along with the crossed-out staccato dot at the beginning of b. 2, it may indicate that the concept of markings of those figures changed from  to . Consequently, the aforementioned shorter slurs would be uncorrected elements of the initial slurring.
The slur beginning from the 1st quaver is an inaccuracy of Fontana, repeated in the next three bars too.   

category imprint: Differences between sources

issues: Corrections in A , FE revisions , Omitted correction of an analogous place , Inaccuracies in FC

b. 1-2

composition: Op. 28 No. 8, Prelude in F♯ minor

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FE erroneously gives d instead of c as the last L.H. quaver in each of these bars. The errors, caused probably by this note in bar 1 being written somewhat imprecisely in A (bar 2 is marked as a repetition of bar 1 in the manuscripts), were corrected in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 1

composition: (Op. 4), Sonata in C minor, Mvt III

Long accent in A

 in GE (→IE) & EE2

Longer  in FE

No marking in EE1
..

The mark entered into A under the stave almost certainly concerns the A minim; as such, it is a long accent, which we provide in the main text. In the editions it was reproduced as a  hairpin, adjusting its range to the R.H. chords – in GE from the 2nd to the 4th chord. This version was reproduced by the remaining editions (except EE1, in which the mark was overlooked), FE being the least accurate.

category imprint: Differences between sources

issues: Long accents , EE revisions , Inaccuracies in GE , Errors in EE , FE revisions