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b. 19
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composition: Op. 28 No. 4, Prelude in E minor
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The slur of As begins more or less in the middle of the bar, so it can be interpreted as starting from the f category imprint: Differences between sources issues: GE revisions |
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b. 20-21
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composition: Op. 28 No. 4, Prelude in E minor
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On the basis of the available photograph of As, it is impossible to interpret the L.H. part in the 1st half of b. 21. Chopin changed the text in the entire bar as well as at the end of b. 20; initially, that fragment most probably looked like that: category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 20
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composition: Op. 28 No. 4, Prelude in E minor
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The division of the slur in FC (→GE) could have resulted from a misinterpretation of A – the copyist could have overlooked the fragment of the slur over the dotted f category imprint: Differences between sources issues: Errors of FC |
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b. 21
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composition: Op. 28 No. 4, Prelude in E minor
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In A one can see a crossed-out long accent over the e1 minim. According to us, it is likely that the mark was replaced by a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 22-23
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composition: Op. 28 No. 4, Prelude in E minor
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The missing dashes marking the range of smorzando is an inaccuracy of FE (→EE) and GE, quite frequent in Chopinesque first editions. category imprint: Differences between sources issues: Errors in FE , Errors in GE , Inaccuracies in FC |
1 minim. According to us, a slur of such a range concerned the initial version of the ending of the bar; following its deletion, it is only the a1 crotchet that remained, and the slur inevitably begins from it. A slur starting from the a1 crotchet is also included in 
(like most similar situations, it is only the 1st chord of each four that includes all noteheads). In b. 20 the top notes of the last two chords were then changed to a, whereas in b. 21 Chopin crossed out the e note in the 1st group and two last quavers in each group; in addition, at the beginning of the bar he added a new 1st half of the bar. On the photograph, the only thing to be seen there is a blot, yet its general outline seems to confirm the natural assumption that it is a very condensed, abridged notation of the final version, i.e. repeated c-g fifth. The text of this half of the bar is highly hypothetical, hence we put it in square brackets.
hairpin (cf. the Prelude No. 3 in G Major, b. 
