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Op. 28 No. 12, Prelude in G♯ minor

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b. 23

composition: Op. 28 No. 12, Prelude in G♯ minor

..

The  – added in FC most probably in pencil – lowering c2 to c2 is a later addition of H. Scholtz. It should be emphasized that it is highly unlikely that Chopin could have overlooked that  – such an oversight of an accidental defining the sound of a newly introduced key is absolutely uncommon in Chopin's music, let alone in the discussed place, since Chopin took care of precise notation by signalizing the return of g1 with a cautionary sharp, as it was g1 that was present in a few previous bars. Scholtz introduced the version with c2 – completely arbitrary – in the edition of the Preludes that he edited (Peters, Leipzig 1879); it was also popularized by certain later collective editions, e.g. edited by one of Chopin's pupils, Karol Mikuli (Kistner, Leipzig 1879) as well as by a few 20th-century urtexts (!). The reason could have been to avoid the cross-relation of c2 in b. 23 with c1 in b. 24; however, according to us, it is too weak an argument to interfere with the Chopinesque notation to such an extent. See also the note in the next bar.

category imprint: Source & stylistic information

issues: Foreign hand additions in manuscripts

b. 24

composition: Op. 28 No. 12, Prelude in G♯ minor

c1 in sources

c1, our alternative suggestion
..

The suggested version based on an A major chord can be considered an acceptable variant. The version was probably the initial one in A; Chopin then changed it to a version that does not sonically diverge from the next two bars. According to us, that change, however, could have been a result of a confusion: b. 24-25 could have been taken for b. 25-26.

category imprint: Interpretations within context; Editorial revisions; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections

b. 24

composition: Op. 28 No. 12, Prelude in G♯ minor

..

In A (→FC,FE) there is not a single  before the a notes (in various octaves). Such oversights of accidentals defining the current key are among the most frequent mistakes of Chopin. The accidentals were added in GE and EE. The same applies to the next three bars. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Last key signature sign , Errors repeated in FE

b. 25-27

composition: Op. 28 No. 12, Prelude in G♯ minor

..

As was the case with b. 24, in A (→FC,FE) there is not a single  before the a notes (in various octaves). The accidentals were added in EE (all) and in GE (except a1 in b. 26 and a in b. 27).
See also bars 27-32.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Last key signature sign , Errors repeated in GE , Errors repeated in FE

b. 25-26

composition: Op. 28 No. 12, Prelude in G♯ minor

2 slurs in A (→FC,FE→EE)

1 slur/tie in GE

4 slurs, our alternative suggestion
..

Unlike in analogous b. 21-22, Chopin wrote here in the R.H. part only one slur in each bar. The simplified notation could have represented economy of notation, typical of Chopin, or could have been aimed at reducing the number of cramped markings to help the engravers. Taking into account the latter, we suggest the more detailed marks from b. 21-22 as an alternative solution. GE distorted even the simplified slurring by replacing the slurs with one curved line, linking the minims in the top voice, which is, by the way, ambiguous, since it may be both a slur or a tie.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions