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Op. 28 No. 3, Prelude in G major

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b. 2-15

composition: Op. 28 No. 3, Prelude in G major

..

Conventional abbreviations were used in all manuscripts to write down the repeating figurations, mainly in the L.H. part. FCI features as many as 13 bars (b. 2-6, 14-16, 19-22 and 29) written down in such a way, which constitutes the largest share. It is very likely that it corresponds to the notation of the autograph of a previous version, which Fontana copied, since Chopin was very keen on using such abbreviations, particularly in unofficial manuscripts. This opinion is not challenged by the fact that Fontana used numerous abbreviations in FC (b. 11, 14-16, 19-21, 27 and 29) contrary to the notation of A (abbreviation only in b. 11): he could venture to do that having in mind the text and notation of the earlier autograph.
See also b. 16-29.

category imprint: Differences between sources

issues: Abbreviated notation of A , Fontana's revisions

b. 3-15

composition: Op. 28 No. 3, Prelude in G major

Rhythm without rests in FCI

Rhythm with rests in A (→FC→GE, →FE→EE)
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As far as the time intervals between subsequent R.H. notes are concerned, the rhythm of the first phrase (b. 3-6 and 12-15) is no different in FCI from the one Chopin eventually sent to be published. The crossings-out visible in A in b. 3 confirm that the version without rests, preserved in FCI, is earlier. Thanks to the rests, the theme is more precisely articulated and more volatile at the same time. It is also reflected in the slurring – see b. 12.
An analogous change of notation is also to be found in b. 11.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A , Main-line changes

b. 3-13

composition: Op. 28 No. 3, Prelude in G major

  in FCI

No signs in A (→FC→GE, →FE→EE)
..

In FCI the pair of   hairpins in b. 3-4 defines a detail that was not marked in the final editing of the piece. When this phrase is repeated, it is accompanied only by a long accent at the beginning of b. 13.

category imprint: Differences between sources

b. 3-12

composition: Op. 28 No. 3, Prelude in G major

2 short accents in FCI

Short accent in A, probable interpretation (→FC→GE, →FE→EE)

Long accent in A, possible interpretation
..

It is unclear whether the accent in A was supposed to be long or short, according to Chopin. Both FC (→GE) and FE (→EE) interpreted it as short; a short accent is also in FCI (as well as in b. 12). In the main text we also favour a short accent – both the acceleration of the tempo of the Prelude and the shortening of the rhythmic value of this note are an argument for a short, purely dynamic accent.
In FE (→EE) the accent was placed under the stave, which is a routine revision, frequently used by editors both in times of Chopin and nowadays. In this case, it does not influence the meaning of the sign; we do not include this detail in our transcriptions.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Placement of markings

b. 3-4

composition: Op. 28 No. 3, Prelude in G major

Slur from semiquaver in FCI & A (→FE→EE)

Slur from mid-bar in FC (→GE)
..

The longer slur of FC (→GE) resulted from a mistake of the copyist, most probably confused by the contour of a fragment of the slur written on the back of this page (over b. 22) blending into the slur of A. 

category imprint: Differences between sources

issues: Inaccurate slurs in A , Errors of FC