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b. 226-227

composition: Op. 23, Ballade in G minor

No slur in A

Slur in FE (→GE,EE)
..

In the main text we include the slur encompassing the bass motif, which Chopin must have added while proofreading FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 226

composition: Op. 23, Ballade in G minor

e3-a3 in A (→FE→GE)

c3-a3 in EE
..

The version of EE is a typical Terzverschreibung mistake, in this case probably additionally influenced by the sixths in the adjacent bars.

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error

b. 226

composition: Op. 49, Fantaisie in F minor

Short accents in A (literal reading) & EE2

Different accents suggested by the editors

Long accents in GE

No marks in FE (→EE1)
..

When interpreted literally, both accents in A seem to be identical and rather short – cf. the long accents in the middle of bar 228 and 230. However, it is the comparison with these bars, as well as with bar 311, 313 and 315, that suggests that Chopin could have wanted to differentiate between them. We can actually see a difference in their length if we compare the top arms of both marks, which, most probably written first, can be considered to be written more carefully, hence more reliable. Taking that into account, in the main text we suggest a short accent at the beginning of the bar and a long accent in the middle. GE standardised the marks as long accents.
The absence of the accents in FE (→EE1) almost certainly means that they were absent in A while [FC] was being developed, serving as the basis for FE – Chopin added the accents to A after the copy had been finished. In EE2 the accents were added on the basis of GE1, interpreting them as short.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Inaccuracies in A

b. 226

composition: Op. 49, Fantaisie in F minor

No c1 in chord in A (→GE)

c1 in chord in FE (→EE)
..

The chord featuring a 4th note, c1, is most probably a mistake in the interpretation of the manuscript committed either by Fontana in [FC] or by the engraver of FE1. In all 10 analogous places the chord played in the middle of the bar is an exact repetition of the chord from the beginning of the bar, but an octave higher. In the discussed place this rule is also observed in the A version (→GE). Determining the presence of a middle note of a chord written on a ledger line is a frequent issue when interpreting Chopinesque autographs (this also applies to Fontana's copies).

category imprint: Differences between sources

issues: Errors in FE , Uncertain notes on ledger lines

b. 226

composition: Op. 49, Fantaisie in F minor

..

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE