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b. 108
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The compatible versions of GC and FE1 (→FE2) prove that such a notation was also in [A]. Chopin's highly likely mistake, probably related to the introduction of an enhanced version of the transition to the next phrase (it may be supposed that bar 108 was originally a repetition of bar 107, same as in two previous similar phrases), is proved by awkward in this context parallel A category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: GE revisions , Errors of A , Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE |
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b. 108
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composition: Op. 64 No 1, Waltz in D♭ major
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The accent visible in A has a typical form of long accents. In spite of this, in FE it was reproduced as a short one. The sign in EEW1 (→EEW2) has to be considered to be long, yet the coincidence with the notation of A is most probably accidental. The omission of the accent in GE may be considered to be an oversight, however, it is surprising that the sign is absent in both versions of GE, particularly considering the fact that the same applies to category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Errors in GE , EE inaccuracies |
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b. 108-124
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composition: Op. 64 No 1, Waltz in D♭ major
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In this bar our reconstruction of As ends – see the characterization of this source. category imprint: Source & stylistic information |
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b. 108-124
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composition: Op. 64 No 2, Waltz in C♯ minor
category imprint: Differences between sources |
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b. 108-109
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composition: Op. 21, Concerto in F minor, Mvt I
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The tie of b category imprint: Differences between sources; Corrections & alterations issues: Errors of A , Authentic corrections of FE |
-d
in the next bar. Therefore, both indications may have been overlooked already in 
1 in 
