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b. 8-16
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composition: Op. 23, Ballade in G minor
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In A, the 5 accents at the beginning of the R.H. quaver figures are of different length – the shortest are in b. 10 and 12, while the longest – in b. 14 and 16. However, all of them are provided with a slender shape, typical of long accents. As there is no reason to differentiate between the accents (and the last two are undoubtedly long), we interpret all of them as long; this is also the shape in which we give them in the main text. In FE, it is only the last accent that is clearly longer (in b. 16); in the remaining editions the marks were standardised as common short accents. The issue of distinguishing between those two types of accents, not always possible to unequivocally decide, is present throughout the entire Ballade and is also to be found in many other works by Chopin. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 8-19
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composition: Op. 23, Ballade in G minor
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In A, it can be seen that Chopin initially wrote over the characteristic quaver figure slurs that would not go beyond the bar line; it was only later that he prolonged them, leading them to the minims at the beginning of the following bar. Such corrections are clear in b. 8-9, 10-11, 12-13 and 18-19. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 8
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composition: Op. 2, Variations, complete
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The AsI version is the original redaction of the bass part in this bar. In the main text we include the bottom notes of the octaves added – almost certainly by Chopin – in the stage of proofreading FE1. The addition was also introduced into EE3, most probably pursuant to FE2. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE , Bass register changes , Abbreviated octaves' notation |
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b. 8-12
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composition: Op. 63 No. 3, Mazurka in C# minor
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The category imprint: Differences between sources issues: EE inaccuracies |
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b. 8-9
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composition: Op. 30 No. 1, Mazurka in C minor
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In the main text we suggest a modified version of the slurring with which Chopin replaced in FC the slur/tie as visible in FE. We justify the extension of the slur encompassing the sequence of thirds with the fact that dragging a slur led over the thirds to d1-f1 at the beginning of bar 9 was difficult in the manuscript (due to the lack of space under the tie to g1) and presented a risk of the notation becoming overcomplicated. category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information issues: Authentic corrections of FC |
before 3rd beat of b. 8 & 12 in 
