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Fingering

b. 11

composition: Op. 28 No. 23, Prelude in F major

No fingering in A (→FE,FCGE)

Fingering in EE

..

Nothing indicates that the fingering in EE could have come from Chopin.

category imprint: Differences between sources

issues: EE revisions

b. 12

composition: Op. 28 No. 23, Prelude in F major

No fingering in A (→FE,FCGE)

Fingering in EE

..

Nothing indicates that the fingering in EE could have come from Chopin.

category imprint: Differences between sources

issues: EE revisions

b. 13-14

composition: Op. 28 No. 23, Prelude in F major

No fingering in A (→FE,FCGE)

Fingering in EE

..

Nothing suggests that the fingering in EE could have come from Chopin, although in this case it is presumably consistent with Chopin's idea, as it employs the pattern indicated by Chopin in FED in earlier similar figures.

category imprint: Differences between sources

issues: EE revisions

b. 14

composition: Op. 28 No. 23, Prelude in F major

Annotation in FED, probable interpretation

No teaching fingering

..

It is unclear what the addition in FED under the 12th and 13th semiquavers means. According to us, it is most probably a semiquaver beam; in this context, it has only one meaning, i.e. the marked notes should be played by the L.H. This is meant to facilitate the performance, although it is not obvious at first glance – instead of eliminating the tenth leap, it allows to keep the R.H. in a position that enables its performance. We do not offer this interpretation in the main text due to it being uncertain.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 15

composition: Op. 28 No. 23, Prelude in F major

No fingering in A (→FE,FCGE)

Fingering in EE

..

Nothing indicates that the fingering in EE could have come from Chopin although it is probably in line with Chopin's one here – cf. bar 1.

category imprint: Differences between sources

issues: EE revisions