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b. 263-265
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composition: Op. 2, Variations, complete
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In Af the L.H. rhythmic notation is more accurate in this entire fragment that starts here (until bar 267, the last one written in Af) – every half a bar, over each bass note, there is a quaver rest filling the top voice. The absence of those rests in A and the editions is a manifestation of the budding Chopinesque economy of notation, according to which rests the sole function of which is to fill the bar in one of the voices, are worth omitting for the sake of legibility if – as is the case here – it does not disrupt the understanding of the arrangement of voices and their rhythm. Cf. the note on bars 16-17 describing a situation in which a similar procedure turned out incomprehensible and misled the engravers. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information |
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b. 263
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composition: Op. 49, Fantaisie in F minor
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In FE1 the 1st quaver in the 2nd half of the bar is a d category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 263
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composition: (Op. 4), Sonata in C minor, Mvt IV category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
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b. 264
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composition: Op. 43, Tarantella
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In GE1 b2 instead of c3 is mistakenly the upper note of the first dyad in the RH part. category imprint: Differences between sources issues: Errors in GE |
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b. 264
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The comparison with analogous motifs in a few places of Scherzo proves that the missing g category imprint: Differences between sources issues: Errors of GC |
. The mistake was corrected – perhaps at Chopin's request – in 
restoring b
2 note on the last crotchet is almost certainly a mistake of the copyist.