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b. 1

composition: Op. 28 No. 5, Prelude in D major

..

Under the crossing-out in A, one can see that the initial tempo marking was Vivace.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 5-21

composition: Op. 28 No. 5, Prelude in D major

..

In b. 5 and 21 EE added a cautionary  before A.

category imprint: Differences between sources

issues: EE revisions

b. 11

composition: Op. 28 No. 5, Prelude in D major

in A (→FEEE)

in FC (→GE)

..

Due to the coincidence of minor inaccuracies of FC and GE, the  mark in the latter was already placed much farther than in A. We also assume that the versions of FC and GE, differing by a half of a semiquaver, are equivalent.  

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FC

b. 16

composition: Op. 28 No. 5, Prelude in D major

a2 at end of bar in A (→FEEE1)

a2 in FC (→GE) & EE2

..

The version of FC (→GE) resulted from a mistake of the copyist, who did not notice the  before the last note in b. 16 in A and marked b. 15-16 as a repetition of b. 14 (in A it is only b. 15 that is marked as a repetition; b. 16 is written out with notes). The presence of that version in EE2 proves that the revision of that edition took into account the text of GE1, which was considered authoritative. See also b. 17.

category imprint: Differences between sources

issues: Errors of FC

b. 17

composition: Op. 28 No. 5, Prelude in D major

..

In GE there are cautionary naturals before a in the L.H. and a1 in the R.H. They were added because of a2 (erroneous) at the end of b. 16. Under the influence of GE1, that addition – just like the  of a2 in b. 16 – was also introduced in EE2.

category imprint: Differences between sources

issues: EE revisions , GE revisions