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b. 1
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The absence of category imprint: Differences between sources issues: GE revisions , Errors of FC |
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b. 2
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The version of GE is a mistake of the engraver, which is indicated by the concordant version of the remaining sources and by a comparison with analogous motifs in b. 18 as well as in b. 6 and 22. category imprint: Differences between sources issues: Errors in GE |
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b. 2-3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A one can see crossed-out pedalling markings, according to which the pedal should be changed every half bar – 3 times category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In the main text we include the fingering entered into FESch, which could be coming from Chopin. Similar situations are in b. 6-7, 10, 12 and 15. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FESch |
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b. 3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A the category imprint: Source & stylistic information issues: Accidental below/above the note |
in 
2 in 
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and the 
before the 9th and the 11th semiquavers in the bar are placed clearly lower than the notes they concern – more or less at the level of the 2nd ledger line. There is a similar situation in b. 19, although less distinct. Such a notation is often to be found in Chopinesque autographs, cf., e.g. the Etude in F Major, Op. 10 No. 8,