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b. 283-285
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composition: Op. 42, Waltz in A♭ major
..
In each of three editions Chopin marked the ending of crescendo differently. The version of EE – if it reproduces Chopin's notation correctly – may be considered as intermediary between the shorter crescendo in FE and longer in GE. In the main text we give the version of FEG (→GE) written with the composer's hand. category imprint: Differences between sources issues: Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE |
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b. 283-287
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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It is one of the places in which the performance and concert tradition, shaped to a significant extent on GE and established by the deeply rooted for many decades belief that GC is Chopin's autograph, most probably conveys an erroneous text. The absence of visible corrections in the sources based directly on [A] – GC and FE – means that one of the versions is most probably erroneous. The significant majority of arguments supports the correctness of the chord with b category imprint: Interpretations within context; Differences between sources issues: Terzverschreibung error , Errors of GC |
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b. 283-287
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The pedalling of the five final bars is most probably an arbitrary addition by the reviser of GE. category imprint: Differences between sources issues: GE revisions |
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b. 283
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composition: Op. 21, Concerto in F minor, Mvt I
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We consider the change of the rhythm in GE1 (→FE→EE) to be almost certainly inauthentic – see bar 135. category imprint: Differences between sources issues: GE revisions |
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b. 283
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composition: Op. 21, Concerto in F minor, Mvt I
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We consider that the subtle improvement introduced by Chopin in the proofreading of FE in the analogous bar in the exposition is valid also here. Chopin would often overlook proofreading of one of a few similar places. category imprint: Editorial revisions |
in bar 283 in 
in chord in 
& 
in 
