Issues : Inaccuracies in FE

b. 9-10

composition: Op. 28 No. 18, Prelude in F minor

2 wedges in A (→FC), literal reading

Dot & 2 wedges in FE (→EE)

2 dots in GE

4 wedges suggested by the editors

..

A (→FC) feature distinct wedges above the R.H. chords. With the layout of the manusripts – lower notes of the R.H. chords wirtten on the lower staff – those marks pertain certainly to both hands, hence we also add wedges below the L.H. octaves. This solution was adopted already in FE (→EE), although only in bar 10. EE (→EE) in bar 9 and GE in both bars reproduce the mark as a staccato dot (in the R.H. only).
Similarly in bars 11-12.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , FE revisions , Wedges

b. 15

composition: Op. 28 No. 18, Prelude in F minor

R.H. wedges in A

4 staccato dots in FC (→GE) & EE

3 dots in FE

4 wedges suggested by the editors

..

In this bar Chopin again marked the articulation of the chords only over the R.H. part. As the performance cannot differ from the one in b. 13-14, in the main text we add marks also under the L.H. chords. Such a solution was adopted both by FC (→GE) and FE (→EE).
In FE, the missing mark for the 1st R.H. chord must be an oversight of the engraver.
Both FC (→GE) and FE (→EE) interpreted the marks of A as staccato dots. Although they are not as pronounced as those in b. 9-12 or 14 (the R.H. mark), we consider them to be wedges.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Inaccuracies in FE , Wedges , Inaccuracies in FC