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b. 224-226

composition: Op. 23, Ballade in G minor

..

The correction to the last quaver in b. 226 visible in A – it was probably the e2-g2 third that was deleted – could be considered an improvement introduced due to a different bass sequence. However, the last quaver was also corrected in b. 224, where the bass is the same as in the previous two occurrences of analogous bars (b. 216 and 218). Therefore, it seems that Chopin was already certain of the concept of both versions of this quaver while writing b. 224; however, the versions overlapped in his mind, thus resulting in mistakes in both places.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Main-line changes

b. 224-225

composition: Op. 23, Ballade in G minor

No slur in A

a-d slur in FE (→GE,EE)

c-d slur suggested by the editors
..

It is highly unlikely that the slur added in the stage of proofreading FE (→GE,EE) was supposed to have such a range. According to us, Chopin entered into the proof copy a slur running from the c minim, perhaps inaccurately, which resulted in it starting later in the editions (the slur pointed upwards, just like the one in b. 226-227, which we do not reproduce in our transcriptions). This interpretation is supported by the aforementioned slur in b. 226-227, also added in the stage of proofreading FE.
Such misrepresentations are very frequent in the case of ties, e.g. in the Polonaise in F minor, Op. 44, b. 201-202. 

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Authentic corrections of FE

b. 224-226

composition: Op. 23, Ballade in G minor

..

In A (→FE), in b. 224 and 226, the accidentals in the R.H. part are present only at the beginning of the quaver figuration – before a2 in b. 224 and a1 and a2 in b. 226. The missing flats to the topmost note in these bars were added by GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE

b. 224

composition: Op. 2, Variations, complete

4 R.H. staccato dots in A, literal reading

R.H. wedges & dots in A, contextual interpretation

16 wedges in GE (→FE,EE,FESB)

8 wedges & dots suggested by the editors

16 wedges & dots, our alternative suggestion
..

As with bar 216, the interpretation of the staccato markings in A is problematic, since the difference between the particular markings, so clear in bars 208-211 (wedges and dots), concerns only the size of the markings in this case – the dots over the 1st and 3rd semiquavers are clearly bigger than those over the 2nd and 4th ones. We consider it a consequence of carelessness and interpret it after the initial bars in this variation. In the main text we suggest adding respective markings in the L.H. part as well.
We regard the use of wedges only in the editions as a consequence of the arbitrary decision of the engraver of GE1. The addition of markings (wedges) in the 2nd half of the bar also seems unnecessary; we suggest the version with wedges and dots with necessary changes only as an alternative solution.  

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Wedges

b. 225

composition: Op. 43, Tarantella

..

In A and GE1 (→GE2→GE3)  lowering  f2 to f2 was overlooked in the RH part.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , Errors of A