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b. 160

composition: Op. 49, Fantaisie in F minor

New cresc. - - in A

Dashes continued in FE (→EE) 

cresc. repeated in GE
..

In the main text we give the nuanced crescendo, consisting of two waves, marked in A. GE reproduced it inaccurately, as a result of which the cresc. indication in this bar only reminds us that the marking whose range is indicated by the dashes is crescendo. On the other hand, the continuous cresc. (without the repeated indication) in FE (→EE) may be an authentic variant, entered into [FC] or at the stage of proofreading FE1 independently of the A notation.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 160

composition: Op. 12, Variations in B♭ major

 in FE (→EE)

..

The minor traces of corrections performed in print, visible in FE, suggest that a  was inserted there in place of . Therefore, the mark in GE would be a remaining element of an earlier version, perhaps misinterpreted by the FE engraver (from the manuscript). These marks can be difficult to tell apart in Chopin's autographs, and when they concern small rhythmic values, they are often equivalent.

category imprint: Differences between sources

issues: GE revisions

b. 160-162

composition: (Op. 4), Sonata in C minor, Mvt I

Slurs from 2nd quaver to next bar in A

Slur over 2nd halves of bars after GE (→FE,EE,IE)
..

The change of the range of slurs introduced by GE (→FE,EE,IE) illustrates the manner of adjusting slurs (and dynamic hairpins) to easily perceptible rhythmic structures, in this case halves of bars.

category imprint: Differences between sources

issues: GE revisions

b. 160

composition: (Op. 4), Sonata in C minor, Mvt IV

Crotchet e1 in A & IE

Dotted crotchet e1 in GE (→FE,EE)
..

The addition of an augmentation dot to e1 is a wrong revision, based on the assumption that the bottom voice, represented by the e1 crotchet and the c1 quaver, should be complemented so that it is a minim. According to us, it is already complemented by the f1 quaver on which both bottom voices meet. An approximate record of voices performed by one hand is typical of the Chopinesque notation. In this case, it seems that it was the overly precise notation on the last quaver that caused the misunderstanding – had Chopin written the 2nd half of the bar as follows: , the mistake probably would not have happened.
The omission of this dot in IE, unless it is an oversight, proves that the engraver/reviser of this edition had a better understanding of voice leading. 

category imprint: Differences between sources

issues: Errors in GE , GE revisions ,

b. 160-161

composition: (Op. 4), Sonata in C minor, Mvt IV

..

In the main text we add cautionary accidentals – a  to d in bar 160 and a  to e in bar 161. The latter was also added in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions