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b. 2-4

composition: Op. 25 No 5, Etude in E minor

..

The subsequent GE added cautionary naturals in these bars – already in GE1 before the second g2 in bar 3, in GE2 before d in bar 4, in GE3 before a1 in bar 2. The sign in bar 3 was added in EE3 too. According to us, all signs are justified and we adopt them to the main text. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 2-4

composition: Op. 35, Sonata in B♭ minor, Mvt II

Wedges in GC & FE

Dots in GE

No signs in EE
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Staccato dots at the beginning of bars 2 and 4 consist the most glaring example of German engraver's misrepresenting wedges in GC – the difference between wedges there and dots in neighbouring bars 1, 3 & 5-7 is very distinct. GE did not use any wedges in the whole Sonata. The lack of signs in EE is most probably an oversight.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in EE , Wedges

b. 2

composition: Op. 35, Sonata in B♭ minor, Mvt IV

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GC has a G as the last quaver in the L.H. GE corrected this mistake, probably on the basis of comparison with the 1st half of the bar.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of GC

b. 2-5

composition: Op. 35, Sonata in B♭ minor, Mvt III

..

In GC bar 2 (the entire bar except for the slur) and bar 5 (part of the L.H.) are written in an abbreviated manner with a •/• sign. The notation is certainly repeated after [A]. Similar abbreviations appear also in bar 8 and 12-13. 

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 2

composition: Op. 64 No 2, Waltz in C♯ minor

a-c1 in As (literal reading)

a-c1 in As (probable interpretation)

a-c1-d1 in AI (literal reading)

a-c1-d1 in AI (contextual interpretation)

d-a-c1 in A & FE (→GE,EE)
..

In the previous autographs, Chopin tried varied versions of chords in this bar. Eventually, he used the original version only (with an a-c1 third) at the return of this phrase in bar 18. In both previous autographs, it is the absence of a  raising a to a that draws attention. According to us, it is not a harmonic variant, yet an inaccuracy of notation, therefore, we consider a literal interpretation (without ) in these sources only a highly unlikely variant.

category imprint: Differences between sources; Corrections & alterations

issues: Omission of current key accidentals