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b. 12
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composition: Op. 28 No. 7, Prelude in A major
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The version entered – most probably by Chopin – into FES may be considered an acceptable variant, facilitating the performance (Chopin did not cross out the fingering, but it is clear that it does not apply to this version). In GE the R.H. chord was written in a complicated, obscure manner (reproduced only in the graphical transcription – version "transcription"), not resulting from the notation of A (→FC), i.e. the a category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Inaccuracies in GE , Annotations in FES |
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b. 12-16
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composition: Op. 28 No. 7, Prelude in A major
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In A (→FC) the last phrase mark of the Prelude also encompasses the final rest. It may be an inaccuracy, quite frequently encountered in Chopin's works, as it was interpreted in the editions; this is also the interpretation we give in the main text. However, it cannot be ruled out that such an ending of the phrase mark emphasizes the gradual dispersal of music, like the crossed-out pedal release mark. No division between the phrase marks in b. 14 in CXI can be explained by a misinterpretation of the Stichvorlage – the phrase marks of A are written with a flourish, which could have also been the case of the hypothetical manuscript that served as the Stichvorlage for CXI (Fontana committed a similar mistake in FC – see b. 6). The fact that the phrase mark was led to the end of b. 16, like in A (→FC), but unlike in the editions, is also noteworthy. category imprint: Differences between sources |
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b. 13
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composition: Op. 28 No. 7, Prelude in A major
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In A (→FE) and CGS there is no accidental before the bottom note of the last R.H. crotchet. Therefore, it should be interpreted as an a category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Omissions to cancel alteration , Errors of A , Annotations in FES , Fontana's revisions , Errors repeated in FE |
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b. 13-15
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composition: Op. 28 No. 7, Prelude in A major
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In A one can see corrections of the bass notes in b. 13 and 15 – Chopin moved them an octave lower. It is quite a frequent change used by Chopin in the stage of refining his pieces, cf., e.g. the Prelude No. 11 in B Major, b. 13, Lento con gran espressione WN37, b. 1 and 3 or the Etude in A category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes , Bass register changes |
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b. 14
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composition: Op. 28 No. 7, Prelude in A major
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The version in CXI is most probably a mistake by the copyist. category imprint: Differences between sources |
1-c
was added by Fontana in 
Major, Op. 25 No. 1, 
