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Op. 45, Prelude in C♯ minor

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Issues : Errors in FE

b. 4-5

composition: Op. 45, Prelude in C♯ minor

 in FE

GE & EE
..

The placement of the  mark in FE1 literally means that the pedal should be depressed on the last beat of bar 4, which for harmonic reasons could not be intended by Chopin. Such notation probably results from misunderstanding the autograph, in which the mark might have been placed that way due to lack of space under the very low note (C1) in bar 5. The notation of FE2, in which bar 4 ends a line of text, is definitely erroneous. EE and GE have the  placed correctly in bar 5.

category imprint: Differences between sources

issues: Errors in FE

b. 9

composition: Op. 45, Prelude in C♯ minor

No ornaments in FE (→EE)

Ornaments in GE
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The ornament-free version of FE (→EE) is probably earlier, although errors in the reading of [A1] cannot be ruled out completely (they may have resulted from e.g. corrections or deletions in the manuscript). As our main text we give the grace note with the arpeggio, on the basis of GE.

category imprint: Differences between sources

issues: Errors in FE

b. 12

composition: Op. 45, Prelude in C♯ minor

..

In FE1, a  is placed before the 4th quaver, where it has no justification. That obvious error was corrected both in FE2 and in EE. GE has the correct text as well. 

category imprint: Differences between sources; Source & stylistic information

issues: EE revisions , Errors in FE , FE revisions

b. 16

composition: Op. 45, Prelude in C♯ minor

..

In FE1 (→EE), the inner note of the chord erroneously has the value of a dotted whole note [semibreve]. This is doubtless the mistake of the engraver, who omitted the note stem (it is worth while noting that heads of minims and semibreves look the same in FE). In FE2, instead of adding the stem, the reviser removed the dot; that version, while definitely inauthentic, is nonetheless correct from the formal point of view and indistinguishable from Chopin's intended version when it is being played. In GE the note is a dotted minim, which definitely reflects the notation of both autographs. 

category imprint: Differences between sources; Source & stylistic information

issues: Errors in FE , FE revisions

b. 18

composition: Op. 45, Prelude in C♯ minor

No accidentals (d) in FE1

 d in FE2

lowering D to D and d1 to d1 in FEJ

Three  D in GE & EE
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FE1 does not have a single accidental in this entire bar, which means that the diminished chord d-f-a is the harmonic basis. This is how it was understood in FE2, adding a cautionary  before the 1st quaver of the L.H. Chopin's corrections in FEJ and the error-free version of GE show that Chopin's intention here was to have a D major chord as the harmonic basis. The reviser of EE added the relevant naturals here too. Cf. a further note for this bar. 

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FEJ , FE revisions