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b. 8-9

composition: Op. 50 No. 3, Mazurka in C♯ minor

No slur in AI & FE (→EE)

d-G slur in AF & GE
..

The absence of a separate slur for the bass voice is most probably an oversight of the engraver of FE (→EE). The slur (as well as the staccato dot over G) is also absent in AI – cf. the note in the upbeat.

category imprint: Differences between sources

issues: Errors in FE

b. 8-9

composition: Op. 50 No. 3, Mazurka in C♯ minor

New slur from 2nd quaver in AI & GE

New slur from 1st quaver in AF, literal reading

Overlapping slurs in FE (→EE)
..

In AF both the ending of the slur in b. 8 and the beginning of the slur in b. 9 are written inaccurately, as a result of which each of the given versions may be considered an interpretation of this notation. According to us, the latter is to be interpreted as beginning from the 1st quaver of the bar, which is indicated by the similar yet more accurate versions of notation of AI and AF in analogous b. 100-101 (in AF the version prior to combining the slurs). To the main text we adopt the version of FE, perhaps proofread by Chopin (the first slur having been extended). The version of AI and GE may be considered an equal variant.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A , Chopin's hesitations , Authentic corrections of FE

b. 8-9

composition: Op. 28 No. 2, Prelude in A minor

..

As lacks the  raising f to f at the beginning of b. 8. The inaccuracy of notation is proven by the e note featured in the 2nd quaver. The accidental is also absent in b. 9, in which probably the top note of the 1st quaver was marked.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

b. 8-11

composition: Op. 28 No. 3, Prelude in G major

..

In b. 8, 10 and 11, one can see in A crossings-out in the L.H. part, which was initially written an octave higher. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 8

composition: Op. 28 No. 4, Prelude in E minor

Slur to g1 in As

Slur to a1 in remaining sources
..

The slur of As ends – just like the previous one – on the last note of the four-bar section. The shorter slur of A seems to fit the phrasing better, if we take into account the accented g1 syncopation. Therefore, the idea to break the monotone regularity with an accent on g1 (apart from slurs, it is the only performance indication included in As) could have appeared in the final phase of drafting the Prelude, after the slurs, reflecting that regularity, had already been written down.

category imprint: Differences between sources; Corrections & alterations