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b. 253-254

composition: Op. 23, Ballade in G minor

Slur over sextuplet in A

Longer slur in FE (→GE,EE)
..

The slur of A clearly reaches the last note of the sextuplet only. In spite of that, the slur of FE (→GE,EE) is longer, which is difficult to be considered an inaccuracy or an arbitrary decision, since a similar difference is to be found in b. 257-258 (cf. a similar situation in b. 172-174 and the Chopinesque corrections to A in b. 8-19). Therefore, we consider the longer slurs to have been proofread by Chopin and give them in the main text.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 253

composition: Op. 2, Variations, complete

g in AsI, FE & EE3

g in A (→GE→FESB,EE1→EE2
..

The missing  lowering g to g in A and the majority of the editions must be Chopin's mistake, which is proven by g present in AsI (both in the piano and the orchestral part) and in the violas and the bassoon in GEork (→FEork). In addition, the accidental was added, probably by Chopin, in the stage of proofreading FE; it is also in EE3.

category imprint: Differences between sources

issues: EE revisions , Errors of A , Authentic corrections of FE

b. 253

composition: Op. 49, Fantaisie in F minor

Longer  in A (→GE)

Half-bar  in FE (→EE)
..

As in bar 85, the  hairpin in A is longer than the vast majority of marks in analogous bars, encompassing the first half of a bar. Although in this case the mark encompasses the entire next triplet, we consider it an inaccuracy (such nonchalant flourish can be observed even more frequently in the case of slurs). In the main text we give the FE version of the mark, compliant with its presented contextual interpretation.
Similarly, in bar 257.

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins

b. 253

composition: Op. 49, Fantaisie in F minor

4 accents in A (→GE) & EE2

2 accents in FE (→EE1)
..

There are 2 possible explanations for the difference in the number of accents – either Chopin added to A 2 accents over the R.H. octaves or there were initially no accents here at all (as in analogous bar 153), which Chopin then added independently to A after [FC] had been finished and to the very [FC] or while proofreading FE1. In the main text we follow the version of the principal source (A), which, in this case, is of minimal importance. EE2 added the accents after comparing it with GE1. 

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE

b. 253

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

Long accent in A (→GE)

Short accent in FE, EE & IE
..

In A the accent mark is not very long in itself, yet due to the quite dense notation, it fills more or less half the length of the section between the chord and the bar line, which allows us to consider it a long accent. This is how it was reproduced in GE. The short accents in the remaining editions are inaccuracies by the engravers. See also the notes on bars 249-253 and 254-256.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in FE , EE inaccuracies ,