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Pedalling

b. 6

composition: Op. 28 No. 24, Prelude in D minor

..

At the end of the bar, one can see a crossed-out  marking in A. Crossings-out of those markings in similar situations are also present at the end of b. 20, 41 and 54.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 10-16

composition: Op. 28 No. 24, Prelude in D minor

..

EE1 has no  signs in the middle of bar 10 and at the end of bars 15-16. These are probably oversights by the engraver. Only the first one was corrected in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 20

composition: Op. 28 No. 24, Prelude in D minor

..

At the end of the bar, one can see a crossed-out  mark in A. Crossings-out of those marks in similar situations are also to be found at the end of b. 9, 41 and 54.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 28-29

composition: Op. 28 No. 24, Prelude in D minor

   in A (→FC,FEEE)

No markings in GE

..

Missing the two consecutive pedal changes is undoubtedly an error of GE.

category imprint: Differences between sources

issues: Errors in GE

b. 41-42

composition: Op. 28 No. 24, Prelude in D minor

    in A (→FEEE) & contextual interpretation of FC 

   in GE

..

Fontana omitted the  mark at the beginning of b. 41 in FC, leaving a lonely  asterisk at the end of b. 42. GE completed the pedalling; however, in the face of varied L.H. figures in these bars, a separate pedal was added in each of them. The crossing-out of the  mark at the end of b. 41, visible in A, proves that Chopin consciously combined them with pedal. Crossings-out of those marks in similar situations are also present at the end of b. 9, 20 and 54.

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

issues: Corrections in A , GE revisions , Deletions in A , Errors of FC