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b. 151

composition: Op. 38, Ballade in F major

No sign in A (→EE,GC→GE1)

in FE & GE2 (→GE3)
..

The lack of dynamic marking in A (→EE,GC→GE1) could result from distraction (or lack of space) connected with the correction. In FE and GE2 (→GE3) a  was added, most likely by analogy to bars 141, 143, 147 and 149.

category imprint: Differences between sources

issues: Errors resulting from corrections , Authentic corrections of FE , FE revisions

b. 151-152

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

g2 & g1 in GC (→GE) & FE (→EE1)

g2 & g1 in EE2

g2 & g1 suggested by the editors
..

The naturals raising g2 to g2 and g1 to g1 are certainly an arbitrary addition of the reviser of EE2, who perhaps considered the natural character of the piano grip, since in terms of style, there is no reason to assume here an oversight of the naturals by Chopin.
In the main text we add a cautionary  before g2 in bar 151.

category imprint: Differences between sources

issues: EE revisions

b. 151-152

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

..

In the 2nd half of each of these bars, GC and FE1 (→FE2→FE3) have no naturals. The necessary signs – before a1 and a – were added in GE, FE4 and EE (in EE1 only in bar 152).

category imprint: Interpretations within context; Differences between sources

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

b. 151

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

..

GE1 overlooked the slur over the first L.H. triplet. The mistake was corrected in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 151

composition: Op. 21, Concerto in F minor, Mvt I

Fingering written into FED

No teaching fingering
..

The fingering added in FED probably comes from Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED