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b. 8-11

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In A one can see that Chopin would prolong certain L.H. slurs by adding to the slur the 4th quaver of three consecutive halves of bars, A, B and d, respectively. A similar situation can be found between b. 11 and 12.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 8

composition: Op. 28 No. 18, Prelude in F minor

e & e1 in A (→FE,FC→GE), literal reading

e & e1 in EE
..

According to us, the missing accidental before the penultimate note in the roulade is almost certainly Chopin's error, one of his most frequent mistakes. It is supported by similar melodic phrases in other places in the Prelude, e.g. in b. 4-5 (b at the beginning of b. 5) or an octave higher in the discussed bar (the 10th semiquaver, e). Cf. the note in the Prelude in C minor, Op. 28 No. 20, b. 3.

category imprint: Differences between sources

issues: EE revisions , Omissions to cancel alteration , Errors of A

b. 8

composition: Op. 28 No. 18, Prelude in F minor

Semiquavers in A (→FC,FE→EE1)

Demisemiquavers in GE & EE2
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The change of the number of beams introduced by GE is wrong – in a  bar, it is groups including at least 32 notes (but less than 64) that should be written as demisemiquavers. In this situation, the fact that this mistake was repeated in EE2 is puzzling.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 8

composition: Op. 44, Polonaise in F♯ minor

   in GE, literal reading

   in GE, contextual interpretation

No pedalling in FE (→EE)
..

In the main text we include the pedalling of GE; however, we move the  mark slightly to the left, under the nearest octave, since its actual position (see the graphic transcription – the version "transcript") is inaccurate – the pedal should be pressed either by the end of the 7th semiquaver (which, in addition to an unnecessary complication, would result in the same sonic effect) or on the rest, which is equally irrational. We assume that Chopin meant a multiplied e-c sixth, since the Chopinesque pedalling is, in principle, harmonic – it produces harmonies out of various, non-simultaneous sounds.

General issue of authenticity of the pedalling of GE – see the next note.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE

b. 8

composition: Op. 44, Polonaise in F♯ minor

..

In FE1 the last two R.H. dyads are c3-a3 sixths. This patent mistake was corrected in FE2 and EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Terzverschreibung error , FE revisions