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b. 145-146

composition: Op. 38, Ballade in F major

Continuous slur in A (→FE,GC→GE)

2 slurs in EE
..

Breaking the slur in EE was supposedly meant to facilitate the engraving. Numerous arbitrary changes of this kind are to be found in GE1 of the Concerto in F minor Op. 21, e.g. in the 3rd mvt., bars 225-227.

category imprint: Differences between sources

issues: EE revisions

b. 145

composition: Op. 38, Ballade in F major

..

FE1 overlooks the a2 note in the R.H. in the 9th semiquaver. The defect was corrected in FE2.

category imprint: Interpretations within context

issues: Errors in FE

b. 145-148

composition: Op. 26 No 2, Polonaise in E♭ minor

Slurs in A, probable interpretation

Slurs in FE (→EE1)

Slurs in GE1

Slurs in GE2 (→GE3→GE4)

Slurs in EE2

Contextual interpretation of A suggested by the editors
..

At the repetition of bars 41-44 the sources are not free from mistakes and inaccuracies – none of the editions consistently repeated the same interpretation of A. Cf. the note in these bars. 

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions

b. 145-146

composition: Op. 35, Sonata in B♭ minor, Mvt I

..

GC and FE1 (→FE2→FE3) lack seven naturals before the notes, which were previously already correctly written in another octave. These patent inaccuracies do not impede the interpretation and they were completed in the subsequent sources to a varied extent. It is only GE that has the correct text. Similarly in the next bars.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , FE revisions , Inaccuracies in GC

b. 145-147

composition: Op. 35, Sonata in B♭ minor, Mvt II

Slur in bars 145-146 in GC (→GE)

No slur in bars 145-146 in FE1 (→FE2)

Tenuto slur in FE3 (→FE4)

Slur in bars 145-148 in EE
..

Both notations of the slur in bars 145-146 – GC (→GE) and FE3 (→FE4) – mean generally the same, yet the notation used in FE accentuates the necessity of holding the full rhythmic value of the chord in bar 146, which is often not observed in the case of the last note under the slur. Chopin would often use this notation, cf., e.g., 1st mov., bar 176, the Etude in A minor, Op. 25 No. 4, bar 50, in C minor, Op. 25 No. 7, bars 22, 24, 28 and 30 or the Mazurka in B minor, Op. 33 No. 4, bars 2, 4 and analog.
The slur in EE may be a result of an erroneous interpretation of the tenuto slur written by Chopin in the base text – as in FE3 – as an extention to the previous bars of the slur in bar 147. 

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE , Authentic corrections of EE , Tenuto slurs