mUltimate Chopin

Op. 28 No. 7, Prelude in A major

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b. 5-15

composition: Op. 28 No. 7, Prelude in A major

..

There is not a single tie in CGS (b. 5-6, 8-9, 11, 15-16), which almost certainly results from an oversight.

category imprint: Differences between sources

issues: Errors in CGS

b. 6

composition: Op. 28 No. 7, Prelude in A major

Separate slurs in A (→FE→EE) & CGS

Overlapping slurs in FC (→GE)

No slurs in CXI
..

The version of FC (→GE) most probably results from Fontana having misunderstood the notation of A – the second phrase mark in this bar seems to begin earlier due to the trace of a quaver beam, showing through from the Prelude No. 8 in F Minor, written on the next page.
No phrase marks in CXI – see the note on b. 1-12.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 6

composition: Op. 28 No. 7, Prelude in A major

..

In the main text we omit the unjustified cautionary  before g1, featured in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 7-13

composition: Op. 28 No. 7, Prelude in A major

Ties in GE2 (→GE3)

No ties in remaining sources
..

The ties of c1 in b. 7 and of b1 in b. 13 must be revisions of GE2 (→GE3), inspired by the authentic ties of d1 in b. 5 and of c2-e2 in b. 11. The revision can be considered incomplete – c2 was overlooked in a similar context in b. 3.

category imprint: Differences between sources

issues: GE revisions

b. 7-8

composition: Op. 28 No. 7, Prelude in A major

with bass in A (→FC→GE, →FE→EE)

 under semiquaver in CXI

No markings in CGS
..

The position of the  mark in CXI may be inaccurate or constitute a potentially authentic variant of pedalling – see b. 5-6. The missing  mark in b 8 is almost certainly an oversight.
No pedalling markings in CGS – see b. 3-4.

category imprint: Differences between sources