Issues : Inaccuracies in GE
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b. 9-12
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composition: Op. 28 No. 8, Prelude in F♯ minor
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The missing dashes marking the range of crescendo is a frequent inaccuracy of Chopinesque first editions. In turn, it is more difficult to evaluate the extension of their range in FE (→EE). The reviser or engraver could have considered the markings in b. 12-13 ( category imprint: Differences between sources issues: Inaccuracies in GE , FE revisions |
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b. 25-26
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composition: Op. 28 No. 8, Prelude in F♯ minor
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As a result of narrow spaces between the staves, in A it is uncertain which part the 6 long accents written there are supposed to concern. It also leads to doubts about their number – the marks applying to the R.H. part could be included in the range of the repeat signs used to mark the 2nd and 4th groups of demisemiquavers. This is how it was interpreted in all editions, where 8 marks were printed. According to us, the 6 (and not 8) accents are certainly supposed to emphasize the tenor voice, constituted by the topmost notes, marked with accents, of the L.H. figures. The change of all or some accents to short ones is a frequent arbitrary intervention of Chopinesque first editions. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE |
) to be a natural ending of the crescendo and assumed that the missing dashes were a result of the composer's inadvertence. However, that reasoning is not as obvious as it seems at first glance – after the ascending progression in b. 9-10, based on the f pedal note, the following one and a half bar brings rather a momentary respite due to the descending sequence of half-bar cadences. Due to the above reason, in the main text we keep the version of 
