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b. 110
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composition: Op. 49, Fantaisie in F minor
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The missing pedal markings in this bar probably resulted from an oversight by the copyist in [FC] or by the engraver in FE1. category imprint: Differences between sources issues: Errors in FE |
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b. 110-114
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composition: Op. 49, Fantaisie in F minor
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In the main text we add cautionary flats to d category imprint: Editorial revisions |
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b. 110
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composition: Op. 12, Variations in B♭ major
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In this place corrections were being made, both in FE and GE, most probably from the following version: category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Errors in FE , GE revisions , Authentic corrections of FE , Authentic corrections of GE , Errors repeated in EE |
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b. 110-112
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A Chopin did not put accidentals to the bottom notes of the octaves at the beginning of bar 110 and in bar 112; on the other hand, he wrote a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Last key signature sign , Inaccuracies in A |
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b. 110
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The staccato mark instead of an accent resulted from a mistake by the engraver of GE, who considered the small and careless accent mark to be a wedge. In FE it was reproduced – probably also by mistake – as a dot, while in EE it was most probably overlooked. category imprint: Differences between sources issues: Errors in EE , Errors in GE , FE revisions |
1-d
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, which probably originated from the .png)
(similar issues concerning the reproduction of the Chopinesque notation of an augmented prime – see the Ballade in G minor, Op. 23, 
to the A minim in bar 110 (unnecessary). 
