Issues : FE revisions
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b. 9-12
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composition: Op. 28 No. 8, Prelude in F♯ minor
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The missing dashes marking the range of crescendo is a frequent inaccuracy of Chopinesque first editions. In turn, it is more difficult to evaluate the extension of their range in FE (→EE). The reviser or engraver could have considered the markings in b. 12-13 ( category imprint: Differences between sources issues: Inaccuracies in GE , FE revisions |
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b. 9
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In A (→FC→GE) there is a category imprint: Differences between sources issues: EE revisions , Cautionary accidentals , FE revisions |
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b. 9-25
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composition: Op. 28 No. 24, Prelude in D minor
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In b. 9 and 20-25 the L.H. part in A (→FC) is marked with •/• signs as repetition of the preceding bar. The abridged notation is used in the manuscripts also to mark the 2nd half of the bar in b. 11-15 and 17-19. In b. 21-25 a similar notation was also used in FE, where the second halves were marked with a / sign. category imprint: Differences between sources issues: FE revisions |
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b. 9-12
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composition: Op. 28 No. 19, Prelude in E♭ major
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The four-bar pedal added in FE2 (→EE) must be erroneous – cf. the authentic pedalling of b. 1-4. The intention could have been to generally indicate con pedale, which Chopin would probably sometimes use in the form of a single category imprint: Differences between sources issues: FE revisions |
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b. 9-10
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composition: Op. 28 No. 18, Prelude in F minor
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A (→FC) feature distinct wedges above the R.H. chords. With the layout of the manusripts – lower notes of the R.H. chords wirtten on the lower staff – those marks pertain certainly to both hands, hence we also add wedges below the L.H. octaves. This solution was adopted already in FE (→EE), although only in bar 10. EE (→EE) in bar 9 and GE in both bars reproduce the mark as a staccato dot (in the R.H. only). category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , FE revisions , Wedges |
) to be a natural ending of the crescendo and assumed that the missing dashes were a result of the composer's inadvertence. However, that reasoning is not as obvious as it seems at first glance – after the ascending progression in b. 9-10, based on the f pedal note, the following one and a half bar brings rather a momentary respite due to the descending sequence of half-bar cadences. Due to the above reason, in the main text we keep the version of 
before b in the 3rd figure of the accompaniment. The unnecessarily repeated accidental was removed in 
to g.
in 
Major, Op. 10 No. 11, b. 
