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Issues : Last key signature sign

b. 12-14

composition: Op. 28 No. 6, Prelude in B minor

No accidentals in A (→FC→GE1)

Naturals in FE (→EE), GE2 (→GE3) & CGS
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The version of A (→FC→GE1), in which these three bars are based on the c-e-g diminished chord, most probably resulted from an oversight of the naturals lowering c to c (in various octaves) by Chopin. The correctness of the version of FE (→EE) is mainly evidenced by three teaching copies bearing clear traces of having been developed with Chopin, in which the C major chord as the harmonic basis of those bars was not questioned; it is also evidenced by CGS, which was written by a person who was both close to Chopin and a witness to the creative process of the cycle of Preludes. The naturals visible in FC are an addition by H. Scholtz, coming from the 1870s. The change introduced in GE2 could have been drawn from FE or a result of an accurate analysis of the harmonic structure of the piece by the reviser.

category imprint: Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , FE revisions , Last key signature sign

b. 13

composition: Op. 28 No. 14, Prelude in E♭ minor

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In A and the remaining sources there is a cautionary  before c1. In FC (→GE) and EE a  before c in the L.H. part was also added. In the main text we omit those unjustified accidentals.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Cautionary accidentals , Last key signature sign , Fontana's revisions

b. 14

composition: Op. 25 No 6, Etude in G♯ minor

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In front of a at the beginning of the bar, the sources include a superfluous .

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals , Last key signature sign

b. 15-16

composition: Op. 24 No. 4, Mazurka in B♭ minor

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In A (→GE1) there is a cautionary  before g flat1 at the beginning of bar 16. The unnecessary sign was omitted in FE (-→EE1→EE2), and in GE2 (→GE3) it was moved one quaver earlier, to bar 15. In EE3, a  was added in bar 16, probably on the basis of GE1.

category imprint: Differences between sources

issues: GE revisions , Cautionary accidentals , Authentic corrections of FE , Last key signature sign

b. 16-17

composition: Op. 26 No 2, Polonaise in E♭ minor

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In the main text we omit the cautionary flats, present in the sources, next to c3 in the R.H. (in A in bar 17 before both notes; similarly in bar 18). It is an obvious example of Chopin's insecurity concerning the issue of presence of particular accidentals in the key signature. Cf. the note on c2 in the L.H. in bar 17.

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals , FE revisions , Last key signature sign