GE1
Main text
A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 15-16

No indications in A (→FCGE, →FEEE) & CGS

cresc. &  in FES

Our variant suggestion

The second half of the Prelude is provided with numerous pencilled entries in FES; however, only some of them resemble certain signs or indications. They were probably performed during the pupil's performance, in a score standing on a piano music rack, hence some of them are just lines or crosses put to indicate the places to which most probably the master's verbal comments related. It is also likely that in some places the additions were performed more than once, which also significantly hampers their interpretation. We managed to identify the following markings (except for fingering digits):

  • cresc. in b. 15,
  •  in b. 16,
  • in b. 17 perhaps a slur running from the F minim to G in the next bar, possibly a  between those notes,
  • in b. 18 possibly an accent under the minim,
  •  in b. 20,
  •  and  in b. 21 (one above the other) – the initially written  probably did not provoke a sufficient result in the pupil's performance, so it was replaced by a pair of .

In the main text we include – in a variant form – the most certain, in our opinion, interpretations of those entries. 

Compare the passage in the sources »

category imprint: Differences between sources

issues: Annotations in teaching copies, Annotations in FES

notation: Verbal indications

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