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b. 1

composition: Op. 28 No. 16, Prelude in B♭ minor

in A (→FEEE) & GE

No indication in FC

..

The absence of  in FC must be the copyist's mistake. It is unclear on what grounds that indication was added in GE – most probably it was a particularly opportune revision.

category imprint: Differences between sources

issues: GE revisions , Errors of FC

b. 2

composition: Op. 28 No. 16, Prelude in B♭ minor

c2-e2 in A (→FC,FEEE)

e2-c2 in GE

..

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

b. 2-3

composition: Op. 28 No. 16, Prelude in B♭ minor

..

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

b. 3

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering digit in FESch

No teaching fingering

..

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

b. 3

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In A the  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, b. 79.

category imprint: Source & stylistic information

issues: Accidental below/above the note