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b. 231

composition: Op. 2, Variations, complete

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In A the last two semiquavers in the parts of both hands are written down without any accidentals. Chopin's blatant oversight was corrected only by GE2 (→GE3,FESB), in which the necessary naturals and a cautionary  to e2 were added. In the main text we also add cautionary accidentals to e1 (which is absent in the editions – see the note below) and to a2.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: GE revisions , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 231-232

composition: Op. 49, Fantaisie in F minor

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In A Chopin did not write flats in the 3rd triplet in each of these bars, which was repeated by FE1. In FE2 flats were added only in bar 232, while the notation is fully correct in GE and EE.

category imprint: Interpretations within context; Differences between sources

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

b. 231-232

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

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The sources do not include naturals to b2 in bar 231 and to b3 in bar 232, which is due to the fact that the rules of validity of accidentals when using an octave sign are different in the sources than in our edition. See also bar 235.

category imprint: Interpretations within context

issues: Accidentals in different octaves

b. 231-239

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

con forza in b. 231-232 in A, contextual interpretation

con forza in b. 239 in A (possible interpretation→GE→FE,EE,IE)
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The con forza indication is written in A between the bottom stave in bars 231-232 and the top stave in bar 239. Under this indication, and over the R.H. part in bar 239, one can see traces of removal of a mark, probably a verbal indication or, e.g. . This suggests that Chopin changed his mind and replaced the deleted mark by con forza (added over it). This is how it was interpreted by GE (→FE,EE,IE). However, according to us, it is likely that the erasure was not related to con forza, which could have been added earlier and concerned the L.H. octave phrase in bars 231-232. Such an interpretation is strongly supported by the comparison with bars 73-74, in which an almost identical L.H. phrase is provided with con forza. Taking into account the fact that this indication suits bars 231-232 much better (musically speaking), to the main text we adopt the second interpretation.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Corrections in A , Inaccuracies in A

b. 231

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

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In A the  to the bottom note of the sixth at the beginning of the bar is missing. The patent mistake was corrected in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals , Inaccuracies in A