A
Main text
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewiczowa's Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 13-14

 before 4th semiquaver in A, literal reading

 under 6th semiquaver in FC (→GE) & FE (→EE)

 before 6th semiquaver suggested by the editors

In these bars the  asterisks are written closer to the beginning of the bar than in the remaining ones (cf. the note on b. 2-28) – the marks are placed at the end of the 1st half of the bar both with respect to the L.H. and the R.H. parts. It is striking that such a position of the  marks was not reproduced either in FC (→GE) or in FE (→EE). It suggests that at this point of the manuscript both the copyist and the engraver were already convinced of the accidental nature of even the more distinct differences in the position of the  marks. Taking into account the homogeneous texture of the Prelude and the close correlation of pedalling with the sound of the principal one-bar figure, we assume that such an explicit divergence from the pedalling markings of the remaining bars is highly unlikely. Due to this reason, in the main text we give pedalling markings analogous to the ones used by Chopin in the remaining bars, considering the actual notation of A an acceptable variant, although probably unintended by Chopin. 

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE, Inaccuracies in FC, Inaccuracies in A

notation: Pedalling

Go to the music

.