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b. 160

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

 on first beat in GC (→GE)

No sign in FE

 at the end of bar in EE
..

No  in FE is rather of an accidental nature, although the pedal can be sustained longer than it results from the notation of GC (→GE). It is confirmed by the  sign added in EE, which can come from Chopin (which does not mean that it was reproduced accurately – perhaps Chopin wrote it slightly earlier, e.g., on the 3rd beat of the bar).

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , No pedal release mark

b. 160-171

composition: Op. 26 No 2, Polonaise in E♭ minor

..

In A almost the entire reprise (bars 105-171) is written in an abbreviated manner, in the form of empty, numerated bars, corresponding to bars 1-67.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 160-164

composition: Op. 64 No 3, Waltz in A♭ major

Four-note chords in A & GE

Three-note chords in FE (→EE)
..

The version of A, repeated in GE through a proof copy of FE, is the original one. In this version in each bar one is supposed to perform two identical four-note chords (as in the previous bars). In the last proofreading of FE (→EE) Chopin deleted some of the notes, lightening the accompaniment and creating an internal melodic line: g–d1–c1–a– etc.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 160

composition: Op. 64 No 2, Waltz in C♯ minor

c in A & GE

C in FE (→EE)
..

Same as in bar 32, Chopin introduced the change of c to C in the last phase of proofreading of FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Bass register changes

b. 160

composition: Op. 64 No 2, Waltz in C♯ minor

No  in A

 under rest in FE (→EE,GE1no2→GE2no2)

 after rest in GE1op (→GE2op→GE3op)
..

The absence of the  sign in A is almost certainly a mistake – in analogous bar 32 a respective sign is written. The addition of a  in FE may be attributed to Chopin's proofreading, although the placement of the sign – under the rest and not after it, as in bar 32 – raises certain doubts, as far as the accuracy of reproducing the composer's intention is concerned. In the main text, we stick to the notation of A in bar 32.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE