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Fingering

b. 33-35

composition: Op. 28 No. 21, Prelude in B♭ major

No fingering in A (→FE,FCGE)

Fingering in EE

..

There is nothing to suggest the authenticity of the fingering added in EE in bars 33 and 35.

category imprint: Differences between sources

issues: EE revisions

b. 37-38

composition: Op. 28 No. 21, Prelude in B♭ major

No fingering in A (→FE,FCGE)

Fingering in EE

category imprint: Differences between sources

issues: EE revisions

b. 41-44

composition: Op. 28 No. 21, Prelude in B♭ major

No fingering in A (→FE,FCGE)

Fingering in EE

category imprint: Differences between sources

issues: EE revisions

b. 45-47

composition: Op. 28 No. 21, Prelude in B♭ major

One-part notation in A (→FE,FCGE)

One-part notation & in bar 47 fingering in EE

Additional beam in bar 47 in FES

Contextual interpretation of annotation in FES

Our suggestion in bars 45 & 47

..

The quaver beam added in FES to the last three quavers most probably indicates that they should be performed by the R.H. Since it concerns fingering, in the main text we also give it in analogous b. 45 (cf. General Editorial Principles, p. 17). In b. 45 it is convenient to perform this motif with the R.H. already from the 2nd quaver, e. The fingering of EE contradicts both indications in FES, i.e. here and in a similar phrase in b. 49. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Annotations in FES

b. 46

composition: Op. 28 No. 21, Prelude in B♭ major

No fingering in A (→FE,FCGE)

Fingering in EE

category imprint: Differences between sources

issues: EE revisions