



When interpreted literally, the version of A (→FC→GE1), in which the 4th demisemiquaver on the last beat of the bar is an a1, is most probably a mistake, although the interval structure of the four middle demisemiquavers (from the 3rd to the 6th in the eight-note figure) is strictly analogous to the seven preceding figures. It is indicated by a broader tonal context of this phrase and of the entire Prelude – the second of those four notes is never altered, while the key to which Chopin returns in the 2nd half of that bar is F
minor, and not F
major. A natural was added – most probably by Fontana – in FE (→EE); an identical addition was also introduced in GE2.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources
issues: Omissions to cancel alteration, GE revisions, Errors of A, FE revisions
notation: Pitch