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b. 127

composition: Op. 2, Variations, complete

2 endings in AsI

No repeat in A (→GEFE,EE,FESB)

..

In AsI, there are 2 versions of this bar – the 1st volta, slightly different from the 2nd volta of b. 111, with a repeat sign at the end, and the 2nd volta, generally compliant with the final text. The repetition of b. 112-127 was initially also present in A, in which, however, Chopin removed it by deleting the bar creating the 1st volta of b. 127 and erasing the 2nd volta marking over the bar containing the ending of the solo part.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Changed phrase length

b. 127

composition: Op. 2, Variations, complete

4-note chord after AsI

Octave in A (→GEFE,EE,FESB)

..

The full B major chord on the 1st L.H. quaver present in AsI was replaced by Chopin with an octave in both volte (in the final version Chopin abandoned the repetition of b. 112-127, but in A the 1st volta encompassing b. 127 is written out and deleted in such a way that it can be deciphered).

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 127

composition: Op. 30 No. 4, Mazurka in C# minor

No ornament in FC

in FE (→EE) & GE

..

The missing  in FC must be an oversight by the copyist, corrected in GE.

category imprint: Differences between sources

issues: GE revisions , Errors of FC

b. 127-129

composition: Op. 30 No. 4, Mazurka in C# minor

c1 only in chord in b. 128 in FC

4 notes c1 in chords in FE (→EE) & GE2

No c1 in chords in GE1

..

The three-note chords present in FE (→EE) are much more likely here, since they prepare and open the chordal sequence in bars 129-132. The FC version almost certainly resulted from the copyist's carelessness, who did not take care of the visibility of the notes written on the ledger line. This is indicated by the notation of the first two chords in bar 129, in which it is also the e1 notes that are practically imperceptible, although their presence is unquestionable. In GE1 it was also c1 in bar 128 that was overlooked, in spite of the presence of this note having been marked in FC. The notes overlooked in GE1 were added in GE2, perhaps on the basis of a comparison with FE.

category imprint: Differences between sources

issues: GE revisions , Uncertain notes on ledger lines , Errors of FC

b. 127

composition: Op. 49, Fantaisie in F minor

Long accent in A

No mark in FE (→EE1)

Short accent in GE & EE2

..

The missing accent in FE (→EE1) could be blamed on the copyist's oversight, since the mark written on the stave is poorly visible in A. Nevertheless, since in bar 135, in a similar context, the visible A accent is also absent in FE, it is more likely that both marks were added to A after the basis for FE, that is [FC], had been finished. GE reproducing the accent as short is a frequent inaccuracy concerning long accents. The short EE2 accent was repeated after GE1.

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in FE , Inaccuracies in GE