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b. 141-142

composition: Op. 42, Waltz in A♭ major

Source version – B tied

Our alternative suggestion – B repeated
..

The fact of sustaining all components of the chord raises serious doubts. Lack of the strike at the beginning of the bar is an uncommon phenomenon in Chopin's Waltzes, as it is present only here. In a similar situation in the Mazurka in D major, Op. 33, No. 3, bars 8-9 and 24-25, in the first editions ties sustaining the bass note were added, contrary to the manuscript base texts. It cannot be excluded that in the Waltz in [A] also only 4 notes were sustained, while one – probably the bass B – was meant to be repeated. 

category imprint: Interpretations within context; Source & stylistic information

b. 141

composition: Op. 38, Ballade in F major

 in A (→FE,EE)

No  in GC (→GE)
..

In GC (→GE) the  sign was overlooked.

category imprint: Differences between sources

issues: Errors of GC

b. 141

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

g2-b2 in GC (→GE) & FE1 (→FE2→EE)

g2-b2 in FE3 (→FE4)
..

The version of the 4th quaver with b2 cannot be authentic, as the  visible before this note in GC and FE1 (→FE2→EE1) was probably supposed to concern the bottom note of the third, g2 (the revisers of GE and EE2 added another  here, considering its absence a common oversight). It is proved by a comparison with analogous bars – in all the remaining places (bars 137, 143, 145 and 147-149) the top voice of the dyads is led diatonically, without raising the note on the 4th quaver in the bar. It is confirmed by the Chopinesque proofreading of FE3 (→FE4), in which the sign was moved before the bottom note, which proves that the composer heard here g2-b2. On the other hand, if g2-b2 had really been intended by Chopin from the very beginning, the  in [A] would have probably been misplaced, since two persons – the copyist and the engraver of FE1 – misinterpreted it. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE

b. 141-142

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

A1-A & C1-C in GC (→GE)

A-a & C-c in FE (→EE)

A1-A & C1-C suggested by the editors
..

The version of FE (→EE) is an earlier version, drawn from [A], as it was originally present in GC too. Chopin changed it in GC (→GE), moving the bass motif an octave lower. We give the latter – being the latest – in the main text. It seems to be an improvement due to a more consistent use of the bottom most register of the piano.
In the main text we add cautionary flats before the 1st octave of the bass motif.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections in GC

b. 141-142

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

..

In the sources the cautionary  before a2 is at the beginning of bar 142. In the main text we move the sign to bar 141, where it is more justified. See also the note before the A1-A octave at the beginning of this bar.

category imprint: Editorial revisions

issues: Cautionary accidentals