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b. 17
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The second note from the bottom of the L.H. chord was written in FC imprecisely, hence it looks more like e category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FC |
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b. 17
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The missing arpeggio is most probably an oversight of the copyist. category imprint: Differences between sources issues: Errors of FC |
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b. 17
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composition: Op. 28 No. 16, Prelude in B♭ minor category imprint: Differences between sources; Editorial revisions issues: GE revisions , FE revisions |
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b. 18-21
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composition: Op. 28 No. 16, Prelude in B♭ minor
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All bass octaves in b. 18-20 and the first in b. 21 were provided with staccato dots in A, which Chopin then crossed out and replaced with slurs. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 18-21
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composition: Op. 28 No. 16, Prelude in B♭ minor
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It cannot be ruled out that Chopin indeed envisioned the entire four-bar section being performed with one pedal, in spite of the harmonic change in b. 21. It would emphasize the unifying function of the ostinato, quartal mixture in the bass. On the other hand, it is that very constant bass motif that could have confused Chopin, who, while adding pedalling markings (in haste? – cf. the erroneous pedalling markings in the Prelude No. 19 in E category imprint: Differences between sources; Editorial revisions issues: Errors in GE , Errors of FC |
in 
before a
(4 bars) in 
