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b. 268-269

composition: Op. 2, Variations, complete

2 staccato dots in A

Wedge in GE1 (→FE,GE2→FESB)

2 wedges in EE

3 wedges in GE3
..

In A the staccato marks over the bass G notes are clearly dots in this bar, and not wedges, as was the case before and as was conveyed by GE and the remaining editions. It was not an inaccuracy of notation, since in both places one can see traces of corrections (erasures). In the next bars, the bass notes are not marked staccato at all, which may suggest that the articulation should get gradually longer (milder?) as the modulation progresses and as the music calms down.
The absence of the second mark in GE1 (→FE,GE2→FESB) probably resulted from an oversight (or the engraver was uncertain which mark to apply). The additions in EE (the 2nd wedge in bar 268) and GE3 (the 2nd wedge in bar 268 and the wedge over the first F in bar 269) were arbitrary decisions of the revisers.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Inaccuracies in GE , GE revisions , Wedges

b. 269

composition: Op. 43, Tarantella

 
 
..

In EE there is no e1 ​in the RH chord.

category imprint: Differences between sources

issues: Errors in EE

b. 269

composition: Op. 42, Waltz in A♭ major

d1-e1 in FE

d1-e1-g1 in GE & EE
..

The d1-e1 second, present in FE, is the original version – in FEG (→GE) Chopin added to it a g1. EE also features the completed version with the d1-e1-g1 chord. Therefore, the fact of leaving FE in the original version must be considered as Chopin's oversight.

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of GE , Authentic corrections of EE

b. 269-273

composition: Op. 42, Waltz in A♭ major

No markings in FE & EE

 &  in FEG (→GE)
..

Chopin added the indications  in bar 269 and  in bar 273 in FEG (→GE). In the remaining sources, FE and EE, the dynamic marks in the ending of the piece appear only in bar 277.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 269-271

composition: Op. 21, Concerto in F minor, Mvt I

No slur in A

Slur in bar 269 in GE (→FE)

2 slurs in EE

Slur in bars 269-271 suggested by the editors
..

The absence of the slur in the L.H. in A must be considered an inaccuracy of notation. Chopin may have wanted to add a slur in GE1, but only a fragment of it was printed in bar 269 – the slur suggests a continuation, yet in bar 270, on a new line, there is no continuation. Both in FE (→EE) and GE2 the slur was interpreted as embracing only three crotchets in bar 269. Moreover, EE added also an arbitrary slur from the last crotchet in bar 270 to the third third in bar 271. In the main text we suggest a slur analogous to bars 1-3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions