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b. 8

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

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In the main text we add a cautionary  before B.

category imprint: Editorial revisions

b. 8

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

..

In A (→FC,FE→EE1) and CGS there is no  lowering b to b. Chopin's mistake, obvious in this context, was corrected in GE and EE2. The fact that Chopin was convinced of the presence of b in the preceding part of the bar is evidenced by the naturals written in A before B1 and b on the 4th beat of the bar. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in FE , Errors repeated in EE

b. 8

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

Slur to 2nd beat in A (contextual interpretation→FC)

Slur to 3rd beat in FE (→EE) & GE
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In A it is unclear whether the slur encompasses d1 on the 2nd beat of the bar or whether it aims for g1 on the 3rd beat. According to us, it is the former that is more likely – the slur symmetrically encompasses the notes played on the 2nd beat of both bars, which is an argument for a symmetrical interpretation of both its ends; since the beginning of the slur undoubtedly falls on the 2nd beat of the bar, its ending is also to be interpreted so. This is how it was interpreted and clearly written down by Fontana in FC, which was, however, ignored in GE.  

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 8

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

Notation in A

Notation in FC, FEJ & FES

Notation in FE & CGS

Notation in GE & EE
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Like in the remaining places in which the dotted rhythm and a triplet are juxtaposed, in the main text we give the notation of A. FC reproduced it inaccurately, yet it kept the synchronization of semiquavers; in turn, the notation of the editions is contrary to the convention used by Chopin. Exceptionally in this bar, in FE b, the last semiquaver, comes into contact with the bottom-voice a (probably due to lack of space), which suggests that they are to be played simultaneously, and moreover, in two teaching copies, on the 2nd, 3rd and 4th beats, we can see added dashes indicating a simultaneous performance of the semiquaver with the last quaver of the triplet. Consequently, the notation of the last three beats of that bar is equivalent to the notation of FC in those copies.

category imprint: Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ , Dotted rhythms and triplets

b. 8

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

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One can see a crossed-out semiquaver rest between the last two R.H. notes in A. Chopin performed the same correction in analogous b. 26, which confirms that it was only just at the stage of writing A that Chopin forwent the division of this motif into two parts. See also b. 46.

category imprint: Corrections & alterations; Source & stylistic information

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