Op. 28 No. 1, Prelude in C major

First English edition in which the whole Op. 28 was divided into two fascicules bearing consecutive plate numbers (3098 & 3099), and containing respectively 14 and 10 preludes. EE1 is based on FE2, with some arbitrary revisions, i.a. the fingering added in some of the preludes (in G no. 3, in D no. 5, in B minor no. 6, in F no. 13, in D no. 15, in B no. 21, in F no. 23 and in D minor no. 24). Chopin had no part in preparing the edition, and the reviser could have been Ignaz Moscheles, who heard the Preludes performed by Chopin (all or some of them) in the course of the preparation of EE1.

Out of the first three editions of the Preludes, it is EE1 that performed the most careful revision in terms of accidentals. Numerous, necessary additions were introduced e.g. into the Preludes in F minor no. 8, in A no. 17 or in E no. 19. Cautionery accidentals were also added e.g. in the Preludes in D no. 5, in B no. 11 or in G minor no. 12.

Other important revisions include:

• supplemented or changed pedalling e.g. arbitrarily added at the end of Preludes in C no. 1, in B minor no. 6 or in B minor no. 16, as well as other revisions e.g. in Prelude in E no. 19,
• the  time signature changed to  in Prelude in A minor no. 2,
• corrections of some errors of FE2 e.g. in Preludes in G minor no. 12, b. 1, in B minor no. 16, b. 43, in D minor no. 24, b. 42 (inaptly),
• the addition of a nonobvious  lowering d¹ to d¹ in Prelude in G minor no. 12, b. 30 or  lowering e¹ to e¹ in Prelude in C minor no. 20, b. 3,
• the additions of erroneous naturals raising c⁽¹⁾ to c⁽¹⁾ in Prelude in E minor no. 14, b. 6, d² to d² in Prelude in F minor no. 18, b. 3, e¹ to e¹ in Prelude in B no. 21, b. 43,
• changed rhythmic values of irregular groups in Prelude in D no. 15 or of grace notes in Prelude in D minor no. 24,
• the addition of extra L.H. slurs in Prelude in B minor no. 16, b. 19-24,
• replacing single accents with double ones, separate for each hand, in Prelude in B minor no. 16,
• the additions of the prolonging dots in Prelude in A no. 17, in b. 38 (aptly) and 86-87 (erroneously),
• the addition of the R.H. rests at the ending of Prelude in D minor no. 24.

As was the case with many other pieces, in EE1 some horizontal accents, short or long, were arbitrarily replaced with vertical ones, e.g. in the Prelude in F minor no. 8, b. 1, in G minor no. 12, b. 37-38, in B minor no. 16, b. 1 or in F minor no. 18, b.16.

EE1 comitted quite a few errors as well, e.g.:

• Terzverschreibung errors in Preludes in C no. 1, in F no. 13, in B minor no. 16, in F minor no. 18;
• other mistaken pitches in Preludes in F minor no. 8, in G minor no. 12;
• oversights of various elements of notation, like e.g.:

– leggiero in Prelude in G no. 3,

–   in Prelude in E minor no. 4,

– pedal markings in Preludes in D no. 5, in A no. 7, in B no. 21,

– ties in Preludes in A no. 7, in F no. 13, in D minor no. 24,

– accidentals in Preludes in F minor no. 8, in A nr 17, b. 20, 26, 78, in B no. 21,

– prolonging dots in Prelude in G minor no. 12,

– slurs in Preludes in B minor no. 16, in F minor no. 18, in B no. 21, in G minor no. 22, in D minor no. 24,

– accents in Preludes in A no. 17, in B no. 21, in D minor no. 24;

•  instead of  in Prelude in B minor no. 6;
• an erroneous accidental in Preludes in G minor no. 12;
• wrong key signatures in Prelude in D no. 15;
• mistaken fingering digits, e.g. in Prelude in D minor no. 24.