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b. 286

composition: Op. 49, Fantaisie in F minor

..

In FE there are no accidentals to the minim L.H. chord. The mistake was corrected in EE by adding a necessary  raising e1 to e1 as well as a  to e (superfluous, in A it was deleted).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE

b. 286

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

d3 in A (→GE→FE,EE,IE), literal reading

d3, contextual interpretation
..

When interpreted literally, the version of the sources, featuring d3 as the 6th quaver, although harmonically possible, is almost certainly erroneous. This is supported by the comparison with analogous bar 288 and 77 and 79, as well as by the role bars 281-292 play in the structure of the finale – preparing the entry of the secondary theme in the key of F minor by consolidating the C chord as the dominant to this key and by reducing harmonic variability and motivic complexity. The highly likely oversight of the  is also indicated by many similar situations in which Chopin forgot that the earlier accidentals were still valid, even the ones put to the preceding note – cf., e.g. bar 5 and 6. Taking into account the above, in the main text we suggest here d3. 

category imprint: Interpretations within context; Editorial revisions

issues: Accidentals in different octaves , Omissions to cancel alteration

b. 286-288

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

..

In A there is no accidental to the last quaver in bar 286 and 288. The patent inaccuracy was corrected in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

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

b. 287

composition: Op. 39, Scherzo in C♯ minor

Short accent in EE, and possibly in GC

Long accent in FE & GE, and also probably in GC
..

The accent form intended by Chopin is hard to determine: it is rather short in EE and rather long in FE and GE. The accent in GC can be interpreted both ways. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 287

composition: Op. 42, Waltz in A♭ major

No sign in FEG (→GE)

 in FE

 in EE
..

In EE the pedal release mark was placed slightly earlier, after the 1st crotchet. To the main text we adopt the notation of FE, where the sign was placed after the last rest. The lack of sign in FEG, though not infrequent at the end of Chopin's works, in this case should be regarded as an imprecision.

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of EE