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b. 230-234
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composition: Op. 22, Polonaise
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 230
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composition: Op. 44, Polonaise in F♯ minor
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The semiquaver beam to c category imprint: Interpretations within context; Differences between sources issues: Errors in EE |
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b. 230
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composition: Op. 23, Ballade in G minor
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In A Chopin overlooked the category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , Cautionary accidentals , FE revisions , Inaccuracies in A |
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b. 230
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composition: Op. 2, Variations, complete
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The authenticity of the fingering added by GE2 (→GE3,FESB), regardless of it being clearly accurate, seems questionable – see bar 208. The fact that the fingering was added in this very bar could be explained by the urge to remind about this indication at the beginning of a page, which in the case of GE starts from this bar. category imprint: Differences between sources issues: GE revisions |
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b. 230
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composition: Op. 2, Variations, complete
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As with bar 224, it seems highly unlikely that the replacement of the four dots (emphasising in A the final melodic idea in this phrase) with wedges (reminding that the variation should be performed staccato) was introduced by GE1 under the influence of Chopin. In this edition this bar opens the page, which could have prompted the engraver (reviser?) to reinterpret the Chopinesque markings in such a way (markings that could be considered incomplete, cf. the adjacent note). The absence of wedges in the L.H. part in FESB is most probably the engraver's mistake. category imprint: Differences between sources issues: GE revisions , Wedges , |
before e
2 in b. 230 and 234. The accidentals were also added in 
2 was overlooked in 
to the bottom note of the 1st L.H. octave (F
