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b. 220

composition: Op. 49, Fantaisie in F minor

..

After adding the transitional g1 quaver on the 1st beat in A, Chopin remembered to remind us that on the 3rd beat g should be restored. However, he did it in an unfortunate manner by adding a cautionary  only to the 2nd quaver in the triplet, g. Consequently, the semiquaver at the end of the bar, when interpreted literally, is still a g1; as far as cautionary accidentals are concerned, a  to the G crotchet would be more justified, which appears earlier than the aforementioned quaver. This erroneous and illogical notation was repeated unchanged by GE, whereas a  restoring g1 was added only by EE2. We also add it in the main text, omitting the  to g.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors resulting from corrections , Cautionary accidentals , Errors of A , Errors repeated in GE

b. 220

composition: Op. 49, Fantaisie in F minor

..

In FE1 (→EE) the bass crotchet on the 3rd beat is an F. In this context it must be a mistake, corrected – perhaps at Chopin's request – in FE2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions , Errors repeated in EE

b. 220

composition: Op. 49, Fantaisie in F minor

Slur to f1 crotchet in A (→GE) & EE

Slur to g1 in FE
..

The FE slur is manifestly inaccurate, which was corrected in EE.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE

b. 220-222

composition: (Op. 4), Sonata in C minor, Mvt I

in sources

 with  suggested by the editors
..

As in analogous bar 60 and 62, in the main text we specify the pitch of the top note of the ornament in bar 220 and 222, that is d3(2).

category imprint: Editorial revisions

issues: Omission of current key accidentals , Inaccuracies in A

b. 220-221

composition: (Op. 4), Sonata in C minor, Mvt IV

2 staccato dots & slur in A, literal reading

2 wedges & slur in GE (→FE,EE,IE)

Dot & slur in A, possible interpretation

Slur in A, different interpretation

2 dots in A, contextual interpretation
..

According to us, when interpreted literally, the A notation is an example of an uncontrolled change to the concept of articulation markings (another example – see I mov., bar 102). Chopin probably wanted to replace one or both staccato dots with a slur or the other way round. We consider the latter to be more likely – initially, the composer wanted to diversify the bass articulation by writing slurs in bars 219-220 and 220-221; then he decided to use a slur only the second time, to emphasise the modulating B-c step, while in bar 219 he added dots. Therefore, in the main text we keep only the staccato dots, being probably the later concept.
The use of wedges in GE (→FE,EE,IE) was an arbitrary decision by the engraver of GE, as in bars 216-217.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Wedges , Partial corrections