Page: 
Source: 
p. 1, b. 1-13
p. 1, b. 1-13
Main text
Main text
A - Autograph
FC - Fontana's copy
AB - Autograph Beauchesne
ACh - Autograph Cheremeteff
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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A - Autograph
FC - Fontana's copy
AB - Autograph Beauchesne
ACh - Autograph Cheremeteff
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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  b. 9-12

13 bars in A (→FCGE, →FEEE), #ASch & CGS

9 bars in AB

Initially, the Prelude had only 9 bars, which is proven by the footnote in A according to which b. 9-12 were added at the suggestion of certain "Mr. xxx." The Prelude in its initial, 9-bar form can be found in AB, written a year after the entire Op. 28 had been finished.
In A (→FC) the discussed bars are marked in an abridged manner as a repetition of b. 5-8 (mentioning the different dynamics).

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

issues: Abbreviated notation of A, Changed phrase length

notation: Shorthand & other

Missing markers on sources: CGS, AB, ACh, A, FC, EE1, EE2, FE1, FE2, FED, FEJ, FES, FESch, GE1, GE2, GE3, EE1a