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b. 15

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

Unslashed grace note in A (→FEEE) & CGS

Slashed grace note in FC (→GE)

..

Replacing non-slashed grace notes – small quavers – by slashed ones is one of the mannerisms of Fontana as a copyist. As Chopin did not strictly observe the difference between both types of grace notes, in this case both versions of notation have the same meaning.

category imprint: Differences between sources

issues: Notation of grace notes , Fontana's revisions

b. 15

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

a-e1 in A (→FEEE1) & CGS

e-a-e1 in FC (→GE) & EE2

..

The version of FC (→GE) is most probably a mistake of Fontana. Although the shorter stem of the 3rd crotchet suggests that the additional e was added, it could not have been done by Chopin, who did not proofread FC. That version was introduced – under the influence of GE1 – also in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors of FC

b. 15-16

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

Minims a1 tied in A (→FE,FCGE) & EE2

Repeated minim in EE1 & CGS

..

The missing tie of the a1 minim is a mistake both in EE1 and CGS. The error of EE1 was corrected in EE2 on the basis of the Stichvorlage (FE2) or GE1.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Errors in CGS

b. 15

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

Grace note tied in A (→FCGE, →FEEE)

Grace note not tied in CXI & CGS

..

The missing tie of the grace note is most probably a mistake of both CXI and CGS.

category imprint: Differences between sources

issues: Inaccuracies in CGS

b. 16

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

..

At the end of the Prelude one can see in A a crossed-out pedal release asterisk, which confirms that these quite frequent situations in Chopin's pieces are not accidental inaccuracies of notation.

category imprint: Source & stylistic information

issues: Deletions in A , No pedal release mark