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b. 10

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

Fingering written into FESch

No teaching fingering

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 10-11

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

cresc. - - in A (→FCGE)

No indication in FE (→EE)

..

The missing cresc. - - - in FE (→EE) is most probably a mistake of the engraver. It was the entire indication that was overlooked in b. 10-14.

category imprint: Differences between sources

issues: Errors in FE

b. 11

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

..

In A (→FC) this bar is written as a repetition of the preceding one (with the use of /• marks). A similar situation is to be found in b. 13 and 35 and 37.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 12-13

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

..

In A (→FC,FE) there is no accidental before the 4th semiquaver in the 3rd group, which would result in f2, which is impossible in this context. The oversight of a cancelled alteration, frequently encountered in Chopin's music, was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A , Errors repeated in FE

b. 12

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

Fingering written into FESch, literal reading

Fingering written into FESch, contextual interpretation

No teaching fingering

..

In the main text we include the fingering entered into FESch, which could be coming from Chopin. The second and third digits are written inaccurately; we interpret them in accordance with the unequivocal entry in an analogous situation in b. 10.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch