Issues : Fontana's revisions

b. 2-15

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

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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. 9

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

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In A (→FE1) there is no  raising c1 to c1 at the beginning of the 2nd group of semiquavers. That patent oversight of Chopin was corrected by Fontana in FC (→GE) and FE2 (EE). The accidental is also in FCI.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 16-29

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

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In both copies by Fontana, abridged notation was used in a few places to mark repeated L.H. semiquaver figurations (in b. 29 also in the R.H.) – in FCI in b. 16, 19-22 and 29, in FC in b. 16, 19-21 and 29.

category imprint: Differences between sources

issues: Fontana's revisions