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b. 180-181

composition: Op. 49, Fantaisie in F minor

c1(2) in A (→GE)

c1(2) in FE1

c1(2) in FE2 (→EE)
..

The FE1 version featuring c1 and c2 is probably authentic – it was introduced at the stage of proofreading (it can be seen that the  to the last quaver in bar 180 was added in print), which rules out a mistake when copying or engraving. According to us, it is possible that we are dealing with an error committed while proofreading, resulting from the similarity between the ending of bar 180 and 181 and the ending of bar 184 and 185, which in FE are – as in our transcriptions – on adjacent lines, one above the other (the similarity is all the grater as in A (→[FC]→FE1) there is no  lowering g1 to g1 in bar 185). Anyways, in FE2 the flats added by FE1 were changed to naturals, hence either returning to the original A version or correcting the previous mistake.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Authentic corrections of FE , FE revisions , Main-line changes

b. 182

composition: Op. 2, Variations, complete

..

In AsI there are two semiquavers at the end of the bar in the first record (b. 182), whereas the second one (b. 182') includes a dotted rhythm, compliant with the versions of the remaining sources. The respective variants are included in the note below.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Dotted or even rhythm

b. 185-186

composition: Op. 38, Ballade in F major

..

The deletions visible in A at the beginning of the 2nd half of bar 185 demonstrate that Chopin changed the 7th R.H. semiquaver. The removed semiquaver was probably a g1-c2 fourth. Similarly, we can guess that the deleted 7th semiquaver in bar 186 sounded a1-d2.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 188

composition: Op. 2, Variations, complete

No ornament in AsI

 in A (→GE→FE,EE,FESB)

 with  suggested by the editors
..

The missing trill in AsI is most probably related to the different shape of melody and rhythm in the ending of the bar – see the next note.

As in the case of b. 184, none of the sources includes a mark that would specify the sound of the trill's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with a . 

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

issues: Main-line changes , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 188

composition: Op. 2, Variations, complete

Text in AsI, basic version

Alternative version in AsI, contextual interpretation

A (→GE→FE,EE,FESB)
..

In AsI the last quaver in the bar underwent an evolution that eventually resulted in the version of A (→GE→FE,EE,FESB). The starting point was the version (written down clearly, in normal-sized script) that we consider the text of this source. It is very similar to the respective fragment of b. 184. Chopin then crossed out the f1-b1 fourth and added a double grace note (in a draft manner) to the 4th quaver and 4 dyads as in the final version, however, without marking the differentiated rhythmic values, which are thus to be interpreted as demisemiquavers. We give this interpretation as an alternative variant of the text of AsI. The attempt at the reproduction of the entire record of this place is included in the graphic transcription ("transcript") of AsI.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes