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b. 282-283

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

Slurs in A

No slurs in GE (→FE,EE,IE)
..

The omission of the slurs/ties between the chords is an oversight by the engraver of GE (→FE,EE,IE). It cannot be ruled out that the engraver did not insert the slurs due to doubts regarding their significance and position with respect to the arpeggio wavy line.
Regardless of the possible dilemmas of the engraver of GE, the meaning of the bottom-most slur/tie concerning c is unclear – if c were to be tied, the arpeggio of the chord in bar 283 would concern only the top 3 notes, contrary to the notation. This resembles the issue discussed in bars 4-6. 

category imprint: Differences between sources

issues: Errors in GE

b. 282

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

..

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 283-287

composition: Op. 39, Scherzo in C♯ minor

Slur in EE and FE

GC (→GE)
..

In GC, the slur ends in bar 283 at the end of the page. The fact that it is not continued on the next page is probably an oversight. We adopt the consistent version of EE and FE.

category imprint: Differences between sources

issues: Errors of GC

b. 283-284

composition: Op. 42, Waltz in A♭ major

No indications in FE, #E & EE

Fingering indications written into FED
..

The signs written in FED under the 4th quaver in bar 283 and under the 2nd and 6th quavers in bar 284 most probably indicate a more convenient performance of the passage consisting in taking these notes over by the L.H. It is not entirely clear what it exactly is – according to us, they are additional quaver flags (cf. the Nocturne in C minor, Op. 27 No. 1, bar 27). We include these meaningful practical hints in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 283-285

composition: Op. 42, Waltz in A♭ major

 in bar 283 in FE

 in bar 285 in EE

FEG (→GE)
..

In each of three editions Chopin marked the ending of crescendo differently. The version of EE – if it reproduces Chopin's notation correctly – may be considered as intermediary between the shorter crescendo in FE and longer in GE. In the main text we give the version of FEG (→GE) written with the composer's hand. 

category imprint: Differences between sources

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