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b. 248
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composition: Op. 23, Ballade in G minor
..
In A one can see a deleted category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 248
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composition: Op. 49, Fantaisie in F minor
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In A Chopin overlooked the category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Errors of A , FE revisions , Errors repeated in FE |
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b. 248
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A one can see traces of removal (erasure) of the slurs combining each of the grace notes with the respective main notes. Perhaps Chopin did not want to suggest an unisono performance of this bar (with tenth leaps in both hands), as he allowed for the possibility of playing the e category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 248
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The arched line visible in A, going through to the next bar, seems to continue the bottom arm of the category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in GE , Corrections in A |
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b. 249
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composition: Op. 43, Tarantella
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category imprint: Differences between sources issues: Inaccuracies in GE |
mark, more or less under the b1 semiquaver.
lowering g2 to g
2 (yet he wrote a 
to the next note!). The patent mistake was repeated only in 
hairpin. However, according to us, it is an illusion – it was probably added as an extension to the slur, since extending one arm of the 
