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b. 132

composition: Op. 44, Polonaise in F♯ minor

a-e1 fifth in GE

Triad with c1 in FE (→EE)
..

According to us, the version of FE (→EE) most probably resulted from a misinterpretation of the manuscript – in Chopin's and Fontana's manuscripts it can be difficult to determine whether a chord contains a middle note on a ledger line – cf., e.g. the Etude in A major, Op. 10 No. 10, b. 76, the Prelude in C major, Op. 28 No. 1, b. 34 or the Concerto in F minor, Op. 21, mov. I, b. 109. Repeating two notes of the preceding chord on the 3rd crotchet would be an unnecessary burden to the accompaniment; it does not occur in this section, as a result of which in the main text we follow GE. 

category imprint: Differences between sources

issues: Inaccuracies in FE , Uncertain notes on ledger lines

b. 132-133

composition: Op. 23, Ballade in G minor

..

In these bars, Chopin overlooked in A all necessary flats lowering a1 and a2 to a1 and a2 (in both hands). The accidentals were already added by FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , FE revisions , Inaccuracies in A

b. 132

composition: Op. 2, Variations, complete

..

We add cautionary flats before es1 and es3. The accidentals were also added in GE3. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 132-133

composition: Op. 2, Variations, complete

2  in AsI, main version

 &  in A (→GE→FE,EE)
..

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Main-line changes , Corrections of AI

b. 133-147

composition: Op. 43, Tarantella

..

In A and FC3 bars 133-147 are not written out and are replaced with numbers 1-16, which in fact means a repetition of bars 85-99 just like in corresponding bars 100-115.

category imprint: Differences between sources; Source & stylistic information

issues: Abbreviated notation of A