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b. 265-267

composition: Op. 22, Polonaise

Naturals d & d1 in FE (→GE,EE)

5 cautionary accidentals suggested by editors
..

In the entire three-bar chromatic sequence, in the main text we suggest a few cautionary accidentals in the R.H. part –  of g1 in b. 265,  of a2 in b. 266 and  of e2 and  of f2, g2 in b. 267. In turn, we omit the naturals before d and d1 present in the sources in b. 266.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 265

composition: Op. 2, Variations, complete

in A

in GE1 (→GE2)

 in FE1, EE & GE3

in FESB
..

The  hairpin is written in A between the staves and begins after the 1st R.H. chord (in Af the bottom arm starts as early as at the beginning of the bar). In GE (→FE,EE) the mark was moved to over the R.H. part, which, in this case, does not significantly influence its meaning. The change was most probably forced by lack of space between the staves; it cannot come from Chopin. The slight change of range in GE1 (→GE2) – the beginning of the mark was moved slightly to the right – was intensified by all subsequent editions, while FESB additionally reversed the direction of the mark, which is a frequent mistake in the first editions of Chopin's pieces. 

category imprint: Differences between sources

issues: Errors in FE , Inaccuracies in GE , Inaccuracies in FE , Placement of markings , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Sign reversal

b. 265

composition: Op. 2, Variations, complete

..

In AsI, Af and A (→GE1→EE1→EE2) there is no  lowering c2 to c2. Chopin's patent oversight was corrected by FE1, GE2 (→GE3,FESB) and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Authentic corrections of FE , FE revisions

b. 265

composition: Op. 2, Variations, complete

..

In the entire G major section of Variation V (bars 263-268), the pedalling markings are written in A rather carefully; however, it can be seen that more attention was paid to keeping the marks on the same level than to their correct alignment. In particular, the  marks in bar 265 are written before the bass D notes, as a result of which the preceding  marks had to be written sufficiently earlier. It did not lead to a significant inaccuracy at the end of bar 264; however, on the 2nd beat of bar 265, the  mark actually falls before the d-a-c1 quaver. Such an early pedal release could not have been intended by Chopin, since the  and  marks are written next to each other and almost certainly simply indicate a pedal change.
The notation of the editions is similar to the notation of A; however, it is less confusing due to different proportions of gaps between the notes and due to the size of the marks.
FESB overlooked the  sign on the 2nd beat.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Inaccuracies in A , Errors in FESB

b. 265

composition: Op. 49, Fantaisie in F minor

..

In A there are visible traces of corrections to the R.H. triplet. Chopin initially wrote it half a tone lower, as in three analogous bar 94, 98 and 261. A side effect of the correction could have been an oversight of the  restoring g2 in the 2nd half of the bar – in the initial version of this triplet the accidental was not necessary (see note next to this minim).

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Main-line changes