Op. 28 No. 1, Prelude in C major

GE2 corrected many errors of GE1, e.g. in this Prelude the f semiquaver to g in b. 29. The majority of necessary accidentals omitted by the reviser of GE1 were added. A number of arbitrary revisions were also introduced, out of which one of the most significant ones is the standardization of the R.H. part rhythm in this Prelude – the authentic quintuplets in the second part of the piece were changed to pairs of triplets beginning with a rest. A significant, totally arbitrary intervention was also performed in the Prelude in F no. 23 – in b. 21 e² was changed to c². Other changes with no convincing justification include:

• ties added in the Prelude in A no. 7, b. 7 and 13,
• c changed to d on the 2nd beat of b. 2 in the Prelude in E no. 9.

Changes one may deem more or less justified include:

•  added in the Prelude in G no. 3, b. 14;
• added accidentals – cautionary naturals to d² in the Prelude in E minor no. 4, b. 18, d¹ in the Prelude in F minor no. 8, b. 9, naturals lowering c's to c's in b. 12-13 in the Prelude in B minor no. 6,  raising d² to d² in the Prelude in A no. 7, t. 11, naturals restoring a¹ in b. 4 ans d³ in b. 23 in the Prelude in F minor no. 8;
• added additional quaver beams (overlooked by Fontana) in the Prelude in D no. 5, b. 4 and 36;
• d¹-d² changed to d¹-d² at the end of b. 30 in the Prelude in G minor no. 12;
• added accidentals Chopin overlooked – naturals raising c⁽¹⁾ to c⁽¹⁾ in b. 5 in the Prelude in E minor no. 14, and  lowering c¹ to c¹ in b. 12 of the Prelude in D no. 15;
• changes in the Prelude in D no. 15 – a to b in b. 2, an octave to sixth in b. 33 and 49, d¹ to e¹ in a chord in b. 70;
• added e¹ demisemiquaver (overlooked by Fontana) in b. 17 of the Prelude in F minor no. 18.

GE2 also corrected some errors committed already in FC, including where an accurate guess of Chopin's text is by no means straightforward. This points to FE as the secondary source used for comparison in doubtful passages:

•  added in b. 83 of the Prelude in D no. 15,
• corrections in b. 15-16 of the Prelude in F no. 23.

Obviously, some revisions from the previous list might also have been derived from FE, however, it was possible to introduce them on the basis of comparison with analogous bars.

Catching attention is the uneven level of the revision – despite numerous apt interventions a number of errors of GE1 remained uncorrected, even the glaring ones, like e.g.:

• erroneous pitch of the grace note in the Prelude in G minor no. 12, b. 26,
• simultaneously occurring a R.H. e¹ and a L.H. d within the unisono figuration of the Prelude in E minor no. 14, b. 3,
• wrong notes in the L.H. chords in the Prelude in A no. 17, b. 21 and 26.

A considerable number of errors subject to a possible detection during a comparison with FC remained uncorrected, which may suggest that the reviser of GE2 had no longer access to this manuscript* e.g.:

• erroneous chords in b. 11 of the Prelude in E minor no. 4,
• switched semiquavers in b. 2, and an erroneous chord in b. 24 of the Prelude in B minor no. 16,
• an octave istead of a single note in the Prelude in B no. 21, b. 50,
• wrong notes in the Prelude in D minor no. 24, b. 5 and 23, 26, 42, 72.

^* Where the apt corrections of errors of GE1 were still introduced in similar situations, e.g. in b. 53 and 61 of the Prelude in E no. 19, the basis for the revision may have been FE.