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b. 152-154

composition: Op. 39, Scherzo in C♯ minor

Short accents in EE

Long accents in GC (→GE) & FE
..

GC and FE clearly have long accents, EE – short ones. The marks in GE are unclear - shorter than those in bar 131 or 147, yet longer than those in bar 139. We assume them to be long accents, just like it was done in GC.

category imprint: Differences between sources; Source & stylistic information

issues: Long accents

b. 152-165

composition: Op. 42, Waltz in A♭ major

Slur in FE0

Long slur in FE1

Four slurs in FEG (→GE1)

Four slurs in EE

Five slurs in GE2 (→GE3)
..

The slurring in bars 159-164 is clearly incomplete in FE0, which may be a result of Chopin's inaccuracies in [A], errors of the engraver or both. Chopin then changed and completed the slurs in FEG, the base text to EE and proofreading of FE1, yet in all of them differently. In total, it gives three different authentic slurring versions. In the main text we give the version written by Chopin's hand in FEG (→GE1), as in the case of FE and EE, there is a slight possibility that Chopin proofreading was overlaid with certain mistakes, manners or revisions of the engravers.
It is not entirely clear what the motivation of the reviser of GE2 (→GE3) was at the time of breaking the slur between bars 159 and 160. 

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE

b. 152

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

One-bar slur in GC (→GE)

No slur in FE

Half-bar slur in EE
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In GC two semi-bar slurs of the L.H. were combined, probably by Chopin. We include the correction in the main text, particularly due to the fact that EE includes an incomplete slurring in this place, whereas FE does not contain it at all.

category imprint: Differences between sources

issues: Authentic corrections in GC

b. 152

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

No sign in GC (→GE) & FE (→EE)

[] suggested by the editors
..

We suggest adding the  sign, overlooked in the sources, in accordance with the harmonic sense at the end of this bar. However, it cannot be excluded that Chopin considered here a change of the pedalling scheme from the previous bars, e.g., due to the lower register of the R.H. part.

category imprint: Editorial revisions

issues: No pedal release mark

b. 152-153

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

..

In the main text we add a cautionary  before g. The sign was already added in EE, in which also a  before a1 in the next bar appears (the latter was probably supposed to concern g1).

category imprint: Differences between sources

issues: EE revisions , Errors in EE