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b. 11-12

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

Slur in A (→FE→EE)

No slur in FC (→GE)
..

The missing slur in FC (→GE) is an oversight of Fontana. The slur of A was being extended so that it could also encompass the last crotchet in b. 12. The added fragment ends already in the next bar, in which, however, there is not a single element of notation to which it could have been led. Therefore, it is simply an inaccuracy, quite frequent for Chopin.

category imprint: Differences between sources; Source & stylistic information

issues: Inaccurate slurs in A , Corrections in A , Embracing slurs , Errors of FC

b. 11

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

No fingering in A (→FE,FC→GE)

Fingering in EE
..

Nothing indicates that the fingering in EE could have come from Chopin.

category imprint: Differences between sources

issues: EE revisions

b. 11-12

composition: Op. 28 No. 22, Prelude in G minor

Slur in A (→FC,FE)

Slur in GE

No slur in EE1

Slur in EE2
..

In the main text we give the slur of A (→FC,FE). The earlier starting point of the slur in GE is an inaccuracy of the engraver, similar to the one in the previous bar. EE1 overlooked the slur (like the two adjacent ones), which was arbitrarily completed in EE2.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Errors in EE

b. 11-12

composition: Op. 28 No. 20, Prelude in C minor

cresc. - - in A (→FE→EE)

cresc. in bar 12 in FC

No indication in GE

cresc. in ACh

cresc. -, cresc. in CGS
..

In the main text we give the indication after A (→FE→EE). In A its correct placement is not possible due to the abridged notation of those bars; however, we consider the interpretation adopted in FE (→EE) to be accurate – due to the dashes marking the range of the crescendo, all that matters is to determine its starting point, which falls more or less in the middle of the bar. Placing cresc. (with no dashes) only in bar 12 is undoubtedly a mistake by Fontana, aggravated in GE by the omission of the indication.
In the 9-bar version of AB the dynamic course could have been different, hence the missing cresc. does not have to be considered an inaccuracy. An earlier beginning of the crescendo, as it was marked by Chopin in ACh, may be considered an equal variant.

category imprint: Differences between sources

issues: Errors in GE , Errors of FC , Inaccuracies in CGS

b. 11-17

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

..

In A one can see that Chopin was reducing the range of the accompanying figures in b. 11 and 17. In particular, he moved the bass note in the 2nd half of b. 11 an octave higher: , while in b. 17, which was initially identical to b. 15, he replaced both bass F notes with dyads in the middle register.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes