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b. 252
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE (→GE1→GE2), there is only a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Errors repeated in GE |
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b. 252
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composition: Op. 22, Polonaise
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Just like in b. 232, all sources are lacking in the category imprint: Interpretations within context; Editorial revisions issues: Inaccuracies in FE , Omissions to cancel alteration , Errors repeated in GE , Errors repeated in EE |
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b. 252-260
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composition: Op. 44, Polonaise in F♯ minor
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Chopin could have entered staccato dots in b. 252 and 260 into [A] after Fontana had finished [FC]. category imprint: Differences between sources |
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b. 252
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composition: Op. 23, Ballade in G minor
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In Breitkopf & Härtel publications, an authentic wedge would often be arbitrarily replaced by a staccato dot. The absence of the mark in GE1a is most probably an oversight by the engraver. category imprint: Differences between sources issues: Errors in GE , GE revisions , Wedges |
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b. 252-253
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composition: Op. 23, Ballade in G minor
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In the main text we include the portato dots entered into A. The marks are absent in FE (→GE,EE), which we consider an oversight by the engraver. category imprint: Differences between sources issues: Errors in FE |
mark in this bar. It may be a trace of a more serious mistake, encompassing half of the line (4 bars) – the mark is missing in 
mark that was overlooked at the beginning of the bar in the discussed place. A corresponding mark was added already in 
restoring b
2 at the beginning of the last triplet. 
