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b. 262-263
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we omit the unnecessarily repeated category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
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b. 263
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composition: Op. 43, Tarantella
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In GE there is no accent on the second beat of the bar. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 263-264
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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It is not certain who interpreted Chopin's intention in [A] more accurately – the copyist in GC (→GE) or the engraver of FE (→EE). According to us, an earlier change of pedal in FE seems to be less likely. The notation of GC may be interpreted in three ways, out of which the literal interpretation, adopted in GE2, is dubious from the pianistic point of view. The remaining two – given in GE1 and our main text – are natural from the pianistic point of view and can be considered to be equal. category imprint: Differences between sources issues: Inaccuracies in FE , Inaccuracies in GC |
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b. 263-264
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composition: Op. 21, Concerto in F minor, Mvt I
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In the main text we suggest extending the dashes marking the range of cresc. until category imprint: Editorial revisions |
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b. 263-264
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composition: Op. 21, Concerto in F minor, Mvt I
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In A the second halves of these bars are written in an abbreviated manner as minims with a quaver tremolo. In GE1 and subsequent editions, the quavers were written without abbreviations. category imprint: Source & stylistic information issues: GE revisions |
to d
3 at the end of bar 262; the accidental was also omitted in 
in bar 264, in accordance with the musical sense.