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b. 275-276

composition: Op. 49, Fantaisie in F minor

Slur in b. 275 in A (→GE)

Slur to b. 276 in FE (→EE)
..

The longer FE slur (→EE) could be the initial version, which seems to be evidenced by a deletion that can be seen in A in the place where the slur's ending at the beginning of bar 276 should be expected. It is not entirely certain whether it was a slur that was deleted, while the slur at the end of bar 275 in A does not suggest that it should be continued.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A

b. 275

composition: (Op. 4), Sonata in C minor, Mvt IV

..

In A there is no accidental to the 2nd R.H. crotchet. The inaccuracy was removed in GE (→FE,EE,IE) by adding a .
Chopin also omitted the  to the bottom note of the bass octave, which was also supplemented in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 276

composition: Op. 39, Scherzo in C♯ minor

 in GC

- - - in FE

No markings in EE

 and - - in GE
..

In this bar in FE the diminuendo continues, while GC (→GE) has the hairpin mark  . It is difficult to find a convincing explanation behind that difference. For our main text we adopt the version of FE in order to maintain consistency with bar 279. Lack of markings in EE is probably accidental (see the note to bar 275). The dashes that can be seen in GE, prolonging the scope of the dim. are definitely erroneous.

category imprint: Differences between sources

b. 276-277

composition: Op. 42, Waltz in A♭ major

accel. in FEG & FE, literal reading

accelerando in GE

accelerando in EE
..

According to us, the accel. indication written by Chopin in FEG should be understood as "over the 1st quaver in bar 277" and not "from the last quaver in bar 276". This is how it was understood in GE and this is the interpretation we adopt in the main text. The entry underlying the version of FE must have looked similarly. We develop the abbreviation used by Chopin, which is used less frequently nowadays; GE and EE already include the full indication.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE

b. 276-281

composition: Op. 35, Sonata in B♭ minor, Mvt II

Pedalling in GC (→GE)

Only  in FE

Pedalling in EE

Our variant suggestion
..

It is not clear how the difference in pedal markings arose between GC (→GE) and FE. Possible are both the oversight of  by the engraver of FE and the mistaken placement of the sign by the copyist. Chopin also could have crossed  out in [A] after GC had been prepared. Considering the authenticity and chronology of the two source versions as uncertain we suggest a variant solution in the main text.
The sign in EE, despite of its apparent accordance with GC, seems to be a reviser's addition – the sign is different in form from other similar signs. 

category imprint: Differences between sources; Editorial revisions

issues: No pedal release mark