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b. 1-2

composition: Op. 28 No. 8, Prelude in F♯ minor

Long accents in A (→FC), contextual interpretation

4 short accents in FE

No marks in GE 

3 vertical accents in EE
..

The long accents written in A (→FC) were not reproduced correctly in any of the editions. Both the shorter marks in FE and their omission in GE could have been related to a very dense and not always rational vertical text layout. The change of the accents' font in EE is a revision, typical of that edition, while the omission of the third mark – an oversight.
In the main text we also include – unlike FE – the accents in b. 2, marked in the manuscripts as a repetition of b. 1. This issue is generally ambiguous, e.g. tempo/character indications are certainly not to be repeated, but slurs and pedalling marks continued in the next bars should definitely be repeated. In the case of accents, both possibilities are actually equivalent in this context – the marks are given here as a pattern and should be applied also in the next bars, hence the number of explicitly given accents (4 or 8) is insignificant (cf., e.g. the accents at the beginning of the Prelude No. 6 in B Minor or the Etude in C Major, Op. 10 No. 1). 

category imprint: Interpretations within context; Differences between sources

issues: Long accents , EE revisions , Inaccuracies in FE , Errors in EE , Errors in GE

b. 1

composition: Op. 28 No. 8, Prelude in F♯ minor

..

EE added a poorly justified cautionary  before a2, probably by analogy with b. 5. In A one can see that Chopin initially wrote that accidental, whereupon he considered it superfluous and crossed it out.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: EE revisions , Deletions in A

b. 1-12

composition: Op. 28 No. 7, Prelude in A major

Slurs in A (→FC→GE, →FE→EE) & CGS

No slurs in CXI
..

CXI includes only one phrase mark, in b. 13-16. As the source of the text of that manuscript remains unknown, it is difficult to say whether it was carelessness of the copyist or whether the phrase marks were absent already in the copied source. The former seems more likely, since the copyist was gradually including more and more elements of notation – apart from the aforementioned phrase mark, the second line of CXI contains, e.g. all necessary  asterisks, the majority of which were overlooked in the first line. We discuss the phrase marks in b. 4-8 separately.  

category imprint: Differences between sources

b. 1-10

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

Notation in A

Notation in FC

Notation in FE (→EE), GE & CGS
..

We reproduce the dotted rhythms against the triplets in the R.H. in accordance with the notation of A (→FC), in which the semiquavers fall exactly over the 3rd quaver of the accompanying triplets. In FE (→EE) and GE the semiquavers were arbitrarily moved beyond the 3rd note of the triplets, contrary to the convention Chopin would use all his life. See the Nocturne in C Minor, Op. 27 No. 1, b. 5-13.
The issue of separating the top voice is related to the above problem. We adopt a notation (used in A undoubtedly on purpose, yet inconsistently) in which the top note of the chord is combined with the bottom ones with a stem. FC (→GE) and FE (→EE) considered it a superfluous complication and separated the voices. Such a notation is also to be found in CGS.

category imprint: Differences between sources

issues: GE revisions , Dotted rhythms and triplets , FE revisions

b. 1

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

..

In A one can see a crossing-out proving that the time signature was changed from  to .

category imprint: Corrections & alterations; Source & stylistic information

issues: Changes of metre , Corrections in A , Deletions in A