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Op. 45, Prelude in C♯ minor

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b. 28-37

composition: Op. 45, Prelude in C♯ minor

..

Three last quavers in bars 28, 31 and 37 do not have accidentals in FE1. That Chopin’s notation inaccuracy was corrected in FE2 (apart from  of e in bar 28). The notation of GE and EE is completely correct.

category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , FE revisions

b. 29-30

composition: Op. 45, Prelude in C♯ minor

 in FE (→EE)

GE
..

In the main text we give hairpins after GE, which was based on a probably later autograph, [A2]. Cf. bars 53-54.

category imprint: Differences between sources

b. 29

composition: Op. 45, Prelude in C♯ minor

..

FE1 is lacking naturals lowering f to f and d1 to d1. They were completed both in FE2 (two accidentals) and in EE (three). Also in GE the spaces between the notes clearly indicate that the accidentals were added only during proofing/revision. 

category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , Omission of current key accidentals , FE revisions

b. 30

composition: Op. 45, Prelude in C♯ minor

..

Missing from FE1 are naturals lowering F to F and f to f. The accidentals were added in FE2 and EE. GE also has a correct notation, most probably as a result of additions made already in print.      

category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , FE revisions

b. 31-32

composition: Op. 45, Prelude in C♯ minor

 in FE (→EE)

GE
..

Placing  at the beginning of a new phrase seems to be much more natural. It cannot be ruled out that the sign in [A2] (→GE) was written by Chopin at the transition of the bars and also included the preceding minim in his intentions. That type of notation, nowadays incomprehensible, can sometimes be found in Chopin’s works. 

category imprint: Differences between sources

issues: Centrally placed marks