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b. 257

composition: Op. 2, Variations, complete

..

The first and last notes of the group of 4 small notes ending the trill are written in A (→GE1→EE,GE2→GE3,FESB) without accidentals. The use of G at the beginning of this group, natural in this context, is confirmed by the  of AsI and by the  added – along with a cautionary  to g – in the stage of proofreading FE1.

category imprint: Interpretations within context; Differences between sources

issues: Cautionary accidentals , Errors of A , Authentic corrections of FE , Last key signature sign

b. 257

composition: Op. 2, Variations, complete

..

In A there are no accidentals to the 2nd and 3rd R.H. chords. The missing accidentals were gradually added by the subsequent editions – in GE1 (→GE2) both accidentals to the 2nd chord were added, while in EE1 a  to the 3rd chord was also added (a  was not necessary due to the wrong pitch of the topmost note). The remaining editions – FE, EE3 and GE3 – include all the necessary accidentals.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , FE revisions , Inaccuracies in A

b. 257

composition: Op. 49, Fantaisie in F minor

..

In the main text we add a cautionary  to a1.

category imprint: Editorial revisions

b. 257

composition: Op. 49, Fantaisie in F minor

 in A, literal reading

in FE (→EE)

in GE
..

As in bar 85 and 253, we consider the  hairpin in this bar to have been inaccurately written by Chopin in A (too long). In GE the mark was additionally prolonged by one note. In the main text we give a  in the FE version, compliant with the vast majority of analogous marks.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins

b. 257-265

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

No slurs in sources

2 slurs suggested by the editors
..

In the main text we suggest slurs modelled on the ones precisely marked by Chopin in the analogous phrases in bars 56-64.

category imprint: Editorial revisions