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b. 245-246
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composition: Op. 23, Ballade in G minor
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In A, the slurs between these bars were being corrected – according to us, Chopin divided the initial continuous slur, which is indicated by the endings marking the division of the slur (the endings are clearly bolder, hence more important, final). However, the part of the initial slur that was supposed to be deleted was not eventually removed, hence FE (→EE) understood this correction the other way around (it is also likely that the correction was not there yet when FE was being engraved – see the description of FE). In the main text we give the slurs separated by Chopin. The versions of GE and GE1a, with the slur divided before the last sextuplet and after it, most probably resulted from mistakes or arbitrary revisions. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Errors in FE , Corrections in A , Errors resulting from corrections , Errors in GE , GE revisions |
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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 |
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). 
