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b. 123-124

composition: Op. 50 No. 3, Mazurka in C♯ minor

d2 repeated in AF (→FE→EE)

d2 tied in GE
..

In the main text we give the undoubtedly authentic version of AF (→FE→EE). In turn, the authenticity of the version of GE, although likely, is uncertain – it may result from a routine revision consisting in moving the slur to the side of the noteheads (in GE the stems point downwards). There are numerous examples of such changes in Chopin's pieces, cf., e.g. the Mazurka in G Minor, Op. 24 No. 1, b. 3 or the Nocturne in D Major, Op. 27 No. 2, b. 76-77. Therefore, it is possible that the notation of [AG] was no different from AF.

category imprint: Differences between sources

issues: Placement of markings , Omitted correction of an analogous place

b. 123-124

composition: Op. 50 No. 3, Mazurka in C♯ minor

Slur in AF (→FE→EE)

No slur in GE
..

The missing f1-g1 slur in GE seems to be an oversight. However, it is likely that, contrary to [AG], it was moved over the notes, which converted it into a tie of d2 – see the note above.

category imprint: Differences between sources

b. 123

composition: Op. 50 No. 3, Mazurka in C♯ minor

No sign in sources

[] suggested by the editors
..

In the main text we suggest adding a  hairpin after the mark of GE in analogous b. 31.

category imprint: Editorial revisions

b. 123

composition: Op. 23, Ballade in G minor

Mordent with a2 in FE (→EE)
..

According to us, the sharp over the mordent, added almost certainly by Chopin while proofreading FE (→EE), does not change the sound, but specifies the incomplete notation of A. It is already the G minor chord in the preceding bar that suggests the further direction of the modulation; a modulation that, through the G minor key (featuring a), showed explicitly in the octave sequence in the discussed bar, and the e-g-b-d chord in the next two bars strives for the dominant chord in D minor in b. 126 (which found its eventual resolution on E major 12 bars later).
The easiest explanation for GE missing the  is the engraver's oversight.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Authentic corrections of FE , Inaccuracies in A

b. 123-126

composition: Op. 2, Variations, complete

Notation in AsI & A (→GE→EE,FESB)

Notation in AsI & A (→GE→EE,FESB)

Notation in FE

Notation in FE
..

The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 123, 124 and 126), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note to b. 45-46.

category imprint: Differences between sources

issues: Dotted rhythms and triplets , FE revisions