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b. 8

composition: Op. 25 No 5, Etude in E minor

a in chord in FC (→GE) & EE

f in FE
..

The version of FE (a chord with f) is a result of Chopin proofreading from the version of the remaining sources (a chord with a). The traces of performing changes in print are present in FE both in this bar and in analogous bar 105. In a similar place in bar 36, all sources feature a chord with f. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE

b. 8

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

a in chord in GC (→GE) & FE2 (→EE,FE3→FE4) 

a in chord in FE1
..

The version with a in FE1 is certainly not intended by Chopin, which is proved by the  before the note in the respective bar of the recapitulation, which was not written in the base text to FE, as well as the compatible text of the remaining sources in the discussed bar. The engraver, instead of a , wrote an erroneous  before this note (unjustified in this context).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 8

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

No marks in GC (→GE)

Short accents in FE (→EE)

Different accents suggested by the editors
..

No accents in GC (→GE) is almost certainly an oversight of the copyist, who overlooked all signs between the staves in bars 7-13. The length of the 1st accent is confirmed by the notation of FE in bar 196, being a repetition of bar 8, and clearly longer signs in similar bar 28.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE , Errors of GC

b. 8-25

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

One-bar slurs in AI, A & GE2op (→GE3op)

Two-bar slurs in FE (→EE,GE1op,GE1no2→GE2no2)
..

It is not easy to evaluate how the difference between the slurring of sources in bars 8-9 (and similarly in bars 24-25) occurred. A includes two slurs in both places, although for the first time, when bar 8 appears at the end of the text's line, one could consider the slur in bar 9 to be a continuation of the previous. One-bar slurs are also in AI (except for bar 9, devoid of a slur). In this situation, one has to assume that the slurs of FE (→EE,GE1op,GE1no2→#GE2op2), combined in both places, could have been a result of Chopin's intervention. However, without being sure in this respect, in the main text we give the slurring of A, confirmed by AI. The version of FE, with a phrasing combining structural divisions (cf., e.g., the Waltz in A No. 3, bars 40-41), characteristic for Chopin, particularly in later pieces, can be considered to be (perhaps) an authentic variant.

category imprint: Differences between sources

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

b. 8

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

..

In GC the 10th quaver in the L.H. is a g. The mistake was corrected in GE, probably on the basis of analogy to the previous, similarly constructed triplets in this bar and in bar 6.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of GC