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b. 100
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composition: Op. 64 No 3, Waltz in A♭ major
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In A there are no accidentals in the part of the R.H. This patent in this context oversight was corrected in FE (→GE,EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A |
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b. 100-103
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of the category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 100-101
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composition: Op. 21, Concerto in F minor, Mvt I
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Bar 100 is the last one on the page of A and, as it often happens, the slurs at the transition between the pages are written inaccurately. The slur in bar 100 reaches far beyond the notes, suggesting its continuation, yet in bar 101 there is no possible ending of this slur. Therefore, the versions of the editions in which the slur ends together with the last note in bar 100 may be considered to be justified. However, the logic of the musical course suggests that it is the missing ending of the slur in bar 101 that is inaccurate and not the overextended ending of the slur in bar 100 – cf. e.g. an analogous situations 4 bars further. Starting the slur in bar 101 from the beginning of the bar is a typical inaccuracy of GE1 (→FE→EE), corrected in GE2. (The slur of GE1 bears traces of corrections in print – one can see it was initially divided into a few parts. However, it does not mean that Chopin wanted to move the beginning of the slur – the aim of the proofreading was undoubtedly to combine the illogical fragments.) category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Corrected slurs of Op. 21 in GE1 |
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b. 100
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composition: Op. 21, Concerto in F minor, Mvt I
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It is difficult to explain the difference in approach to long accents between bars 99 and 100, since in A the signs in bar 100 are not longer than the previous ones at all. Perhaps they key to solving the puzzle is the overlooked third accent: if initially GE1 overlooked all accents in this bar, Chopin, while proofreading the edition, could have added the first two, which, this time, were incorrectly reproduced as category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , GE revisions , EE inaccuracies |
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b. 100
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composition: Op. 11, Concerto in E minor, Mvt II
category imprint: Differences between sources |
in 
hairpins (denoting long accents, which is obvious particularly in the notation of bar 101 in 
in bars 
