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b. 1-2

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

Asymmetric     in bar 1 in A, literal reading

Asymmetric     in bars 1-2 in A, contextual interpretation

Symmetric   in bar 1 in FC (literal reading→GE)

Symmetric   in bars 1-2 in FC, contextual interpretation
..

The   hairpins are of different length in A, which we reproduce in the main text. Both Fontana in FC (→GE) and the engraver of FE (→EE) considered it an inaccuracy and inserted symmetrical, half-bar marks. Moreover, including those marks in b. 2 (written in an abridged manner with •/• marks, which mean that b. 1 should be repeated) is an issue. According to us, it would be opportune to repeat those marks, as it was performed in FE (→EE), since they are an integral part of the sonic shape of this figuration. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Inaccuracies in FC

b. 1

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

No fingering in A (→FE,FC→GE)

Fingering in EE
..

Nothing indicates that the fingering of EE could be authentic, although it is probably compliant with the Chopinesque idea. The presence of both a slur and a legato indication suggests the use of "harmonic legato" (holding elements of a chord with fingers) and the following fingering: (it was easier on the then contemporary pianos, which had narrower keys). 

category imprint: Differences between sources

issues: EE revisions

b. 1

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

..

After Presto, in A one can see that the further part of the indication was crossed out, most probably con fuoco.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Changes of tempo markings

b. 1-8

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

..

In A (→FC) these bars are numbered from 1 to 8. Those digits were then used to mark b. 41-48 in an abridged manner. Fontana used the first two digits to mark in such a way b. 9-10 too, which resulted in GE omitting the accents and moving the cresc. from b. 10 to b. 11.

category imprint: Differences between sources; Source & stylistic information

issues: Abbreviated notation of A , Fontana's revisions

b. 1

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

before 3rd beat in A

after 3rd beat in FC (→GE)

on 3rd beat in FE (→EE)
..

The fact that the  mark was placed in FC (→GE) further probably results from an imprecise notation of A, in which the 3rd L.H. crotchet is under the 6th R.H. quaver, since its initial version was crossed out (it was probably a G-d fifth). Consequently, due to the  mark being so close to the next  mark, it seems that the pedal encompasses the entire bar. 

category imprint: Differences between sources

issues: Inaccuracies in FC