Issues : Inaccuracies in A

b. 8

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

..

In A (→FC,FE) there is no  before the 2nd semiquaver in the 2nd half of the bar (a2). The patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE

b. 27

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

 on d in A, literal reading

 on A in A, probable interpretation (→FCGE, →FEEE)

..

The position of the  mark in the middle of the bar is confusing in A – it is placed between the A and the d quavers. According to us, it is more likely that Chopin meant A, as it was actually interpreted both in FC (→GE) and FE (→EE). It is supported by the resemblance to b. 26, in which  is clearly under the 4th quaver in the bar, and by the preceding  asterisk having been placed before the 4th quaver in spite of no harmonic change.

category imprint: Graphic ambiguousness

issues: Inaccuracies in A

b. 29

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

..

In A (→FC,FE) there is no  before the bottom note of the chord on the 2nd quaver (e). The patent inaccuracy was corrected in GE and EE.
In the main text we add a cautionary  before the 4th semiquaver (c2).

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 36

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

 in A

    w FC (→GE) & FE (→EE)

  [] suggested by the editors

..

The absence of a  must be Chopin's oversight (this bar is written in A at the end of the line, which promotes inaccuracies). In the main text we suggest adding the mark analogously to the 1st half of the bar, since the authenticity of the  mark added in FC (→GE) and FE (→EE) at the end of the bar is questionable.

category imprint: Differences between sources; Editorial revisions

issues: FE revisions , No pedal release mark , Fontana's revisions , Inaccuracies in A

b. 46

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

 under grace note in A, contextual interpretation

under chord in FC (→GE) & FE (→EE)

..

The  mark in A occupies an uncommonly large space – from the octave at the end of b. 45 to the crotchet rest in b. 46. The pianistic sense – increasing the span of the final chord – requires that the  mark be placed under the grace note, which, however, was not performed in any of the remaining sources. In a similar situation in the ending of the Prelude No. 5 in D Major, Chopin wrote  clearly under the grace note.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccuracies in FC , Inaccuracies in A