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Op. 28 No. 9, Prelude in E major

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b. 11

composition: Op. 28 No. 9, Prelude in E major

..

In A (→FE) and CGS, there are no accidentals in the L.H. part in the entire bar. Chopin's patent inaccuracy was corrected by Fontana in FC (→GE), who added naturals lowering G1-G to G1-G and D1-D to D1-D. An identical addition was introduced in EE. The accidentals were also added in FED.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , Omission of current key accidentals , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 12

composition: Op. 28 No. 9, Prelude in E major

Tie in A (→FC,FE→EE) & CGS

Slur in GE
..

In GE the tie of B was erroneously reproduced as a motivic slur combining B-E.

category imprint: Differences between sources

issues: Errors in GE

b. 12

composition: Op. 28 No. 9, Prelude in E major

b tied in A (→FC→GE) & EE2

b repeated in FE (→EE1) & CGS
..

The missing tie of b must be an oversight of the engraver of FE (→EE1). The absence of that tie in CGS is one of the arguments proving that the copy comes from FE. The tie in EE2 was most probably drawn from GE1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE

b. 12

composition: Op. 28 No. 9, Prelude in E major

No  in A (→FC→GE)

 in FE (→EE) & CGS
..

Chopin would often leave the last  mark without the closing  asterisk – cf., e.g. the Prelude No. 7 in A Major. Therefore, the mark added in FE, most probably by Fontana, almost certainly does not correspond to Chopin's intention. The presence of a  in CGS is one of many details pointing to FE being the basis of that copy.

category imprint: Differences between sources

issues: FE revisions , No pedal release mark