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b. 1
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composition: Op. 45, Prelude in C♯ minor
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Not being sure of the spelling of the last name of the princess, Chopin asked Fontana (in the letter dated 6 Oct. 1841) to find it out from the princess herself or from her governess: "I don't know how Mme Czerniszew spells her name [...]: is it Tscher, or Tcher? [...], whether it is Elisabeth, and whether Tschernischef, or ff [...]". As GE and FE2 differ in that respect, it seems natural to assume that the later-published FE2 presents the spelling checked by Chopin. The dedication in EE2 was repeated after GE. category imprint: Differences between sources issues: Dedications |
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b. 2
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composition: Op. 45, Prelude in C♯ minor
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The lack of the grace note in GE may result from the inattention of the engraver. A sligtly bigger gap between the two first crotchets of the bar may be interpreted as the space planned to accommodate that ornament. However, this is not at all certain, as uniform spacing between the notes is not strictly adhered to in GE. Therefore we offer a variant solution. The tiny slur in EE is certainly a routine addition of the editor. A similar situation occurs in the Etude in F minor Op. 10 no. 9, bar 64. category imprint: Differences between sources issues: Errors in GE |
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b. 4-5
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composition: Op. 45, Prelude in C♯ minor
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The placement of the category imprint: Differences between sources issues: Errors in FE |
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b. 4
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composition: Op. 45, Prelude in C♯ minor
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The notation of FE (→EE1) is less precise than the notation of GE (and EE2), probably taken from [A2]. It is not possible to determine whether that fact results from the incorrect reading of [A1] by the engraver or from the less careful notation of the autograph itself. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 5-22
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composition: Op. 45, Prelude in C♯ minor
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The placement of category imprint: Differences between sources |
in 
1) in bar 5. The notation of 
in 
