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b. 145-147

composition: Op. 50 No. 3, Mazurka in C♯ minor

No slurs in AI

2 slurs in AF & GE

2 slurs in FE

Slur in bar 147 in EE
..

The longer slur of FE may result from Chopin's proofreading, which is indicated by its absence in EE. Even if this was the case, according to us, it does not have to mean that Chopin wanted to change the concordant slurring of AF and GE, since the composer could have encompassed with a slur the entire phrase without noticing the slur in b. 147, which was moved under the stave in FE (it also cannot be ruled out that the engraver of FE misinterpreted this detail in the Chopinesque proof entry).
The missing slurs in AI are most probably an oversight – see b. 141-143.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 145

composition: Op. 23, Ballade in G minor

Chord in A

Rest in FE (→GE,EE)
..

The chord on the 2nd crotchet of the bar was removed at the stage of proofreading FE (→GE,EE), along with the accent and the slur, undoubtedly at Chopin's request. Traces of removal of the aforementioned elements are clearly visible in the subsequent copies of FE.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 145

composition: Op. 49, Fantaisie in F minor

..

In FE1 there is no  to the 1st R.H. quaver. The patent mistake was corrected in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 145

composition: Op. 12, Variations in B♭ major

..

 in GE is most probably a mistake, perhaps consisting in copying this marking from bar 149, which in FE is at the beginning of the last line on a page, as is bar 145 in GE.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 145-146

composition: Op. 12, Variations in B♭ major

3  in FE (→GE)

2  &  in EE

  &  suggested by editors
..

Initially the 1st half of bar 146 was probably B-e1-f (as in the preceding bar). This is indicated by the rhythmic values () of the f notes on the last quaver in bar 145 and on the 2nd quaver in bar 146 and by the traces of corrections in print, visible in this place in FE. Chopin introduced the final version (which we provide) most probably to avoid two subsequent ninths (e1-f2 and f-g1) in combination with the R.H. However, he did not take care of changing the rhythmic values of the held f notes, hence we correct the notation of the sources to precisely write down the constant presence of the f notes, which are both the middle pedal note and an anchor point for the hand.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Authentic corrections of FE