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b. 12
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In the main text we include the fingering entered into FESch, which could be coming from Chopin. The second and third digits are written inaccurately; we interpret them in accordance with the unequivocal entry in an analogous situation in b. 10. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FESch |
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b. 12-13
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In the main text we add cautionary flats before e category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 12-14
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composition: Op. 28 No. 16, Prelude in B♭ minor category imprint: Differences between sources issues: Errors in FE |
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b. 12
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composition: Op. 28 No. 18, Prelude in F minor
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Formally speaking, the version of GE is justified here; however, it is highly likely that Chopin wrote this group in semiquavers (like all the others) because he did not want to unnecessarily suggest a significant acceleration of movement. Such a notation is to be found in his pieces on a number of occasions – cf., e.g. the Prelude in D category imprint: Differences between sources issues: GE revisions |
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b. 12
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composition: Op. 28 No. 18, Prelude in F minor
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In the main text, we include the fingering coming most probably from Chopin, and written into FED. category imprint: Differences between sources |
. The accidentals were also added in 
