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Op. 28 No. 13, Prelude in F♯ major

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b. 1

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

3/2 in sources

6/4 suggested by the editors
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In the sources, the time signature is 3/2. It is Chopin's mistake (the correct time signature is 6/4), perhaps related to the change of notation – Chopin started writing the Prelude with half the rhythmic values, which is evidenced by the reduced number of beams (one of the beams was crossed out) in the 1st accompaniment figure and by the dotted crotchets constituting the 1st R.H. chord (which was crossed out). The initial time signature was carefully blacked out, hence its interpretation is uncertain; however, it was most probably 6/8. 

category imprint: Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Rhythmic errors , Deletions in A

b. 1

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

No fingering in A (→FE,FC→GE)

Fingering in EE
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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. 3

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

..

In A (→FC) certain repeating six-quaver accompaniment figures are marked in an abridged manner with •/•. In A it concerns the 2nd halves of b. 3, 5, 9, 11, 13, 17 and 19, entire b. 14 and the 1st half of b. 12; in FC, also the 1st half of b. 10. The editions did not use abbreviations at all.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 4

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

Semibreve c1 in A (→FE→EE1)

Dotted minim in FC (→GE) & EE2
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A comparison with similar b. 2, 10 and 12 proves that Chopin wanted the c1 note to be heard in the 2nd half of the bar too. Therefore, it was certainly wrong of Fontana to shorten its value. It would be more justified to extend the length of the note with a dot, as was performed in the aforementioned bars; however, it is not necessary due to pedal. The change in EE2 was most probably introduced under the influence of GE1 (other examples of wrong versions of GE1 having been introduced into EE2 – see, e.g. the Prelude No. 5 in D Major, b. 16, No. 21 in B Major, b. 4 or No. 24 in D Minor, b. 47-49).

category imprint: Differences between sources

issues: EE revisions , Fontana's revisions

b. 6

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

Minim & rest in A (→FE→EE)

Dotted minim in FC (→GE)
..

The longer chord in the 2nd half of the bar must be Fontana's mistake.

category imprint: Differences between sources

issues: Errors of FC