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b. 245
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composition: Op. 23, Ballade in G minor
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In the main text we reproduce the additional slurs over the sextuplets, consistently present in A (→FE,EE). category imprint: Differences between sources; Editorial revisions issues: Errors in GE , GE revisions |
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b. 245
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composition: Op. 2, Variations, complete
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In AsI there is no category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration |
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b. 245-249
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composition: Op. 49, Fantaisie in F minor
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At the end of bar 245, 247 and 249, as in bars 78-82 and 165-169, the GE notation is an arbitrary revision of this edition, contrary to the A notation and the resulting performance. It is noteworthy that in the third appearance of this theme Chopin wrote down the rhythm of the bottom voice three times differently than before, although the performance, indicated by the alignment of notes in both voices, is undoubtedly the same. category imprint: Differences between sources issues: GE revisions , Dotted rhythms and triplets |
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b. 245-249
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composition: Op. 49, Fantaisie in F minor
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As in bars 77-82, moving the semiquavers in bar 245 and 248-249 beyond the 3rd quaver of a respective L.H. triplet was an arbitrary decision by the revisers of GE and EE. category imprint: Differences between sources issues: EE revisions , GE revisions , Dotted rhythms and triplets |
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b. 245
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composition: Op. 49, Fantaisie in F minor
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In FE1 the bottom note of the 1st R.H. quaver is a g3 instead of f3. The mistake was corrected in FE2 (→EE). category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
restoring f in the penultimate semiquaver, which is a patent mistake, committed also in the bassoon part of this manuscript (but not in the cellos or the double basses). 
