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b. 108

composition: (Op. 4), Sonata in C minor, Mvt I

d in A (→GE→FE,IE)

f in EE
..

The EE version is almost certainly a typical Terzverschreibung error.

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error

b. 108

composition: (Op. 4), Sonata in C minor, Mvt I

One-voice notation in A

Two-voice notation in GE

Two-voice notation in FE, EE & IE
..

In the main text we keep the A notation, often used by Chopin in his mature works, where he forgoes polyphonic accuracy for the sake of simplicity of notation. The GE notation proves a revision performed in print – quavers with stems pointing downwards were added to the already printed text, compliant with A, in order to rhythmically fill the bottom voice. This illogical notation was changed in all the remaining editions based on GE.

category imprint: Differences between sources

issues: EE revisions , GE revisions , FE revisions

b. 108

composition: (Op. 4), Sonata in C minor, Mvt I

in A

2  in GE (→FE,EE,IE)
..

The doubled, moved and prolonged  hairpin resulted from an arbitrary decision by the engraver of GE (→FE,EE,IE). The first two changes probably originated from the changes in the arrangement of the R.H. part voices – see the next note. In the main text we keep the A notation.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 108-109

composition: (Op. 4), Sonata in C minor, Mvt IV

,  & > in A, literal reading

Long accents in A, contextual interpretation

6  in GE (→IE)

6  in FE

3  in EE1

4  in EE2
..

All marks in the form of  or of accents entered into A must have the same meaning in this context. This is a very significant argument for the interpretation of such marks we adopted to the entire Sonata (and more). In GE they were reproduced as , which does not differ much from the A notation (except the first and third R.H. marks), yet, according to us, it does not accurately convey their meaning. In the main text we reproduce them in a standardised form as long accents, which better suit the rhythmic, energetic nature of the music and which are closer to the averaged form of the marks entered into A.
The FE and EE1 versions resulted from inaccuracies or mistakes by the engravers, while in the case of EE2, also from inaccurate revision. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , Errors in EE , Inaccuracies in A

b. 109

composition: Op. 29, Impromptu in A♭ major

..

In EE the natural next to d was overlooked.

category imprint: Differences between sources

issues: Cautionary accidentals