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b. 8

composition: Op. 28 No. 19, Prelude in E♭ major

..

In the main text we add cautionary flats before the 3rd L.H. quaver (a) and the 6th R.H. quaver (a1).

category imprint: Editorial revisions

b. 8

composition: Op. 28 No. 15, Prelude in D♭ major

..

The crossing-out visible in A reveals that the 1st quaver in the 2nd half of the bar was initially d. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 8

composition: Op. 28 No. 14, Prelude in E♭ minor

  in A (→FC→GE)

  in FE (→EE)
..

In A the direction of the 2nd dynamic hairpin is unclear – the mark could be described as a  with an additional, shorter arm, which constitutes an angle typical of  marks. According to us, the length of that additional arm points to its accidental nature, and the mark should be interpreted as diminuendo. This is how it was interpreted by Fontana in FC (→GE). The  hairpin in FE is not so much a consequence of the ambiguity described above as a result of a mistake or a revision, which is suggested by a similar range of marks (in that edition) in this and adjacent bars. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccuracies in A

b. 8

composition: Op. 28 No. 13, Prelude in F♯ major

..

In the main text we add cautionary accidentals before f and b.

category imprint: Editorial revisions

b. 8

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In A (→FC,FE) there is no  before the 2nd semiquaver in the 2nd half of the bar (a2). The patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE