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b. 239

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

to 6th quaver in A

 to 8th quaver in GE (→FE,EE,IE)
..

Due to the diminuendo in the next bar, the longer GE mark (→FE,EE,IE) could be considered more natural, in the main text we reproduce the  hairpin after A. Practically speaking, this difference is hardly of consequence.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 239

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

..

The natural to the last quaver (a), omitted in A, was added in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 239-240

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic R.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 240

composition: Op. 43, Tarantella

 
 
..

In IE chord crotchets in the second half of the bar are not dotted.

category imprint: Differences between sources

b. 240

composition: Op. 35, Sonata in B♭ minor, Mvt II

..

Similarly as in bar 52, the bottom note of the 1st chord in FE1 (→FE2) is an erroneous a1. The patent mistake was corrected in FE3 (→FE4), EE and GE, which in the case of FE and EE could have been performed by Chopin.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions , Authentic corrections of FE , Authentic corrections of EE