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b. 259-261
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composition: Op. 23, Ballade in G minor
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In the case of five L.H. octaves, Chopin put an accidental only to one of the notes in A. The following accidentals are missing: category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Inaccuracies in A |
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b. 259
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composition: Op. 2, Variations, complete
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In the main text we add a cautionary category imprint: Editorial revisions |
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b. 259
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composition: Op. 2, Variations, complete
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The version of notation of FE and EE, in which the semiquaver of the top voice was placed after the 3rd quaver of the triplet in the remaining voices, is contrary to the Chopinesque understanding of this combination of rhythms – see bars 45-46. Interestingly, the engraver of FE consistently forced his version of notation (contrary to the basis), whereas the engraver of EE decided to depart from the basis only here. category imprint: Differences between sources issues: EE revisions , FE revisions |
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b. 259
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composition: Op. 49, Fantaisie in F minor
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In the R.H. part in A and FE1 there is only one category imprint: issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 259-260
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A in both bars Chopin omitted the naturals restoring f3. The accidentals were added in GE (→FE,EE,IE). category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
(E) and 
(f
) in b. 259; 
(B
1) in b. 261. All the missing accidentals were added by 
