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b. 231

composition: Op. 2, Variations, complete

c1-e1-f1 in A

c1-f1 in GE (→FE,EE,FESB)
..

The presence of e1 in A is obvious; nevertheless, it seems highly likely that it was overlooked by the engraver of GE – the notehead is slightly thinner than the adjacent ones; what is more, it is misplaced, since it is directly under f1, and not to the left of it, as required by the rule (Chopin would generally write seconds in such a way all his life).

category imprint: Differences between sources

issues: Errors in GE

b. 231

composition: Op. 2, Variations, complete

..

In A the last two semiquavers in the parts of both hands are written down without any accidentals. Chopin's blatant oversight was corrected only by GE2 (→GE3,FESB), in which the necessary naturals and a cautionary  to e2 were added. In the main text we also add cautionary accidentals to e1 (which is absent in the editions – see the note below) and to a2.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: GE revisions , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 232

composition: Op. 39, Scherzo in C♯ minor

 

GC (→GE) & FE
..

In the main text we give  after GC (→GE) and FE. Each of those two sources is probably autograph-based. 

category imprint: Differences between sources

b. 232-235

composition: Op. 42, Waltz in A♭ major

Slur in FEG

Slur in FE

Slur in EE & GE2 (→GE3)

Slur in GE1
..

The range of the slur written by Chopin into FEG is difficult to evaluate on the basis of the available photocopy. The reading in GE1 suggests it might have actually been longer than its today visible part. Taking into consideration the phrase structure and slurring of the analogous phrases in bars 245-260 and 89-103, we deem three out of all source-based slurring justified: FEG, FE and EE (GE2, GE3). In the main text we accept the latter because both the starting and ending points of this slur appear in more than one authentic source: the phrase mark begins from the semiquaver  in FEG and EE, and it reaches bar 235 in FE and EE.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , GE revisions , Authentic corrections of GE

b. 232-234

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

No indication in GC (→GE)

in bar 232 in FE

in bars 232-234 in EE
..

The version of FE is most probably accidental – the engraver forgot about the dashes in the new line of the text. The addition in EE may come from Chopin, although it cannot be excluded that according to Chopin, the crescendo was supposed to be led until  in bar 239.

category imprint: Differences between sources

issues: Authentic corrections of EE