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b. 3-8

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

Different length  in A

Longer  in FE (→GE,EE)

Shorter  suggested by the editors
..

In the main text we unify the reach of the  hairpins in bars 3-4 and 7-8, following three out of four signs written in A. In FE1 the signs were unified too, however, it was the sign beginning slightly earlier in bar 4 that was adopted as the model.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 3

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

Fingering written into FED

No teaching fingering
..

The fingering, added in pencil, most probably by Miss O'Méara, could have been indicated to her by Chopin. Similarly in the R.H. and in bars 4-5.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 3

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

Fingering written into FED

No teaching fingering
..

The fingering, added in pencil, most probably by Miss O'Méara, could have been indicated to her by Chopin. Similarly in the L.H. and in bars 4-5.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 3

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

..

GC (→GE1) includes an erroneous F instead of G in the last chord in the L.H. The unquestionable in this context mistake was corrected in GE2mar (→GE2). Similarly in bar 57.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions , Errors of GC

b. 3-19

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

..

In the main text we add a cautionary  before f1 in bar 3 and 19. In GE2no2 both signs were added, in GE3op – only in bar 19.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions