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b. 302

composition: Op. 2, Variations, complete

 after  in A

Long accent under f in GE (→FE1→FE2)

Short accent in EE & FESB
..

The short  mark may be considered an accent associated with the initial  or as a diminuendo hairpin, which, in this context, practically does not influence the meaning of this mark. On the other hand, placing it under the 1st f semiquaver, as it was performed in GE (→FE,EE), must be contrary to the notation of A and Chopin's intention. The differences in the length of the mark in individual editions most probably correspond to the different interpretations of the engravers: the ones who considered it an accent, inserted a short accent (EE and FESB), while diminuendo took the form of a long accent, which is present in GE (→FE1→FE2).

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 302-304

composition: Op. 49, Fantaisie in F minor

Short accents in A (→GE) & EE2

No marks in FE (→EE1)

Long accents suggested by the editors
..

According to us, the short accents in bar 302 and 304 resulted from the inaccuracy of the A notation (→GE), hence in the main text we suggest long accents, as in the preceding phrase. In EE2 the accents were added on the basis of GE1.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , EE revisions

b. 302

composition: Op. 49, Fantaisie in F minor

3-note chord in A (→GE) & FE2 (→EE)

Seventh in FE1
..

The missing a2 in FE1 is – as in bar 294 – almost certainly a typical oversight related to the note being at the intersection of a chord's stem and a ledger line. The mistake was corrected in FE2 (→EE).

category imprint: Differences between sources

issues: Errors in FE , FE revisions , Uncertain notes on ledger lines

b. 302-309

composition: Op. 49, Fantaisie in F minor

cresc. - - - to b, 309 in A

cresc. - - to end of b. 309 in GE

in b. 309 in FE (→EE1)

cresc. - - &  in EE2

cresc. - - & , our alternative suggestion
..

Chopin added the multi-bar cresc. - - indication – along with a number of other indications in this fragment – to A after [FC] had been finished, which explains its absence in FE (→EE1). In the very FE (or earlier in [FC]) there is only the  hairpin in bar 309, which, being almost certainly authentic, can be considered an alternative concept of leading the course to the culminant chord in bar 310.
In the A notation it is noteworthy that the dashes markings the range of crescendo do not reach the end of bar 309, and therefore  and  in bar 310. GE considered it an insignificant inaccuracy and extended the dashes to the end of the bar. We provide this natural interpretation of the A notation in the main text. However, it is also likely that Chopin hesitated while writing the dashes, perhaps considering using a different indication in the last bar, e.g. a , as in FE, and then started doing something else without making the decision. We include this possibility as an alternative solution. 

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: EE revisions , Corrections in A , GE revisions , Authentic corrections of FE , Inaccuracies in A

b. 302-303

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic L.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions