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b. 235-237

composition: Op. 23, Ballade in G minor

No marks in A

L.H. accents in FE (→EE)

R.H. & L.H. accents in GE

..

The accents above the 2nd crotchet in bars 235 and 237 were added while proofreading FE, undoubtedly by Chopin. Assignment of the sign in bar 235 to the R.H. is probably the result of misinterpretation of the notation in FE by the engraver of GE, who believed that this accent, like the neighbouring ones, refers to the R.H. despite its lower position.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Authentic corrections of FE

b. 235

composition: Op. 49, Fantaisie in F minor

Staccato dot in A

No mark in FE (→EE) & GE

..

As in analogous bar 155, the staccato dot was probably added to A after the basis for FE had been finished ([FC]). In GE the dot was overlooked (as was the slur).

category imprint: Differences between sources

issues: Errors in GE

b. 235-236

composition: Op. 49, Fantaisie in F minor

3 long accents in A (→GE)

1 long accent in FE (→EE1)

3 different accents in EE2

Our variant suggestion

..

As in bars 68-69 and 155-156, both versions – with three accents in A and with one accent in FE – are authentic and can be considered equal. Due to this reason, in the main text we suggest a variant solution. EE2 added the accents noticed in GE1, yet they were considered short, in spite of the fact that the first mark, repeated after FE, was reproduced correctly as a long accent.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , EE revisions , EE inaccuracies

b. 235-236

composition: Op. 49, Fantaisie in F minor

Pedalling in A & GE2

No markings in FE (→EE)

No markings in b. 235 in GE1

Our variant suggestion

..

The missing pedal markings in GE1 must be an oversight (bar 235 ends a page, which is conducive to defects; in this case the engraver's distraction also included the preceding bar – see the note on the slur and ). On the other hand, one can doubt whether the marks that are absent in FE (→EE) in both bars were overlooked as well. Such a scenario would be supported by the layout – the bars are at the end of a line (2 lines below the final part of the great stave is also devoid of pedalling, without an objective reason). On the other hand, harmonically speaking, these markings are not necessary, since the bass notes are held with the fingers. Therefore, it is likely that Chopin removed them in [FC] or while proofreading FE. Due to this reason, in the main text we leave the inclusion of these markings to the discretion of the performer.
See also the note in the next bar.  

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , GE revisions

b. 235

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

..

The  to the bottom note of the 7th quaver in the bar is missing in the sources, as both Chopin and the publishers considered the accidental to the 1st quaver to be valid also here.

category imprint: Interpretations within context

issues: Accidentals in different octaves