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b. 279
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composition: Op. 2, Variations, complete
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Over the L.H. octave in A there is a staccato dot crossed through with a vertical line. According to us, it was most probably supposed to be a wedge with which Chopin wanted to replace the initial dot. However, in GE (→FE,EE) the correction was understood as a deletion of the mark, which, although possible, we consider less likely. category imprint: Differences between sources issues: Errors in GE |
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b. 279
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composition: Op. 49, Fantaisie in F minor
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It is difficult to say what Chopin's motives were when he put such a long mark in a place that appears several times (even if we limit ourselves to the strictest analogy, 4 times – bar 283 and previously bar 112 and 116) and that he marked with clearly shorter signs the other times – long accents (bars 116-118, 277, 281 and 285) or their slightly longer counterparts. Therefore, in the main text we provide a long accent. The position of the marks – see bar 277. category imprint: Differences between sources; Editorial revisions issues: Long accents , Placement of markings |
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b. 279-280
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composition: Op. 49, Fantaisie in F minor
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In the main text we provide the unquestionable A slur, compliant with the one present in A in analogous bars 112-113. The GE and EE slurs, although compliant with the potentially authentic FE slur in the mentioned bars, cannot be coming from Chopin. The authenticity of the FE slur with a clearly wrong ending is also questionable. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE |
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b. 279
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composition: Op. 49, Fantaisie in F minor
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The A (→GE) and FE pedal markings, resulting in a momentary overlapping of harmonies, are, according to us, inaccurate. Due to the above, in the main text we provide markings modelled after analogous bar 283. A similar change was also introduced by EE. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in A |
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b. 279
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we keep the unconventional position of the ten. indication in A. Chopin most probably wanted to emphasise the need to hold, particularly, the e note, which does not stem from the GE notation at all (→FE,EE,IE). category imprint: Differences between sources issues: Inaccuracies in GE |
above chords in 
after quaver in 
