Issues : Deletions in A

b. 1

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

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Chopin initially wrote marcato instead of pesante in A.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 5

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

c-c1 w A, literal reading (→FE,FCGE1)

c-c1 in EE, GE2 (→GE3) & FES

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The missing naturals raising c-c1 to c-c1 are almost certainly Chopin's mistake. It is indicated by the naturals added by Chopin in FES as well as by the cautionary  written in A before c1 in the next bar (eventually crossed out), which suggests that Chopin assumed that it was c that was valid there*.
The naturals were added in EE and GE2 (→GE3).


* A precautionary approach should be taken in the case of a reasoning based on a cautionary accidental – in b. 12 in A we can also observe crossed-out flats before c-c1, although the sound of those notes had already been consolidated at the beginning of b. 10 (Chopin was not always certain which accidentals were included in the key signature).

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , EE revisions , GE revisions , Omission of current key accidentals , Deletions in A , Annotations in FES , Last key signature sign

b. 6

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

No accidentals (c-c1) in A (→FE,FCGE1)

Naturals (c-c1) in EE

Flats (c-c1) in GE2 (→GE3)

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Before the R.H. penultimate quaver Chopin wrote in A a cautionary  which he crossed out after having checked it was not essential. This proves the intended pitch to be c-c1 here. Therefore, the EE version is arbitrary – the reviser repeated here his amendment from the previous bar where he added (rightly there) naturals rising c-c1 to c-c1. We add cautionary flats in the main text here as GE2 already has done.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in EE , GE revisions , Cautionary accidentals , Deletions in A

b. 19

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

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In A one can see that the last L.H. note was initially E, hence the octave gap between the parts of both hands was preserved until the very end of the Prelude.

category imprint: Corrections & alterations; Source & stylistic information

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