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b. 317

composition: Op. 2, Variations, complete

2 staccato dots in A

2 wedges in GE (→FE,EE)
..

As so many times before, the dots having been reproduced as wedges resulted from the simplified interpretation of the notation of A by the engraver of GE1. In this case, it is very difficult to notice the second one, since it is overlapped by the cresc. indication.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Wedges , Inaccuracies in A

b. 317

composition: Op. 2, Variations, complete

2 wedges in A

Wedge in GE1 (→FE,EE,GE2→FESB)

No marks in GE3
..

Missing wedges result from oversights by the engravers of GE1 and GE3.

category imprint: Differences between sources

issues: Errors in GE

b. 317

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

A-a in A & EE

A-a in GE (→FE,IE)
..

The version of this bar visible in A is correctly written and completely logical, harmonically speaking. What is more, it exactly corresponds to the version of bar 108 (except for a different position of the chord at the beginning of the bar). Therefore, there is no reason to look for Chopin's mistake therein, which the reviser of GE (→FE,EE) tried to do, particularly since we are not dealing with any typical mechanism of Chopinesque mistakes – it is neither an overlooked cancellation of an altered note nor an omission of an accidental belonging to the current key.
On the other hand, in all three remaining analogous pairs of bars (bars 108-109, 116-117 and 321-322), the last quaver in the first bar is the same as the last quaver in the 1st half of the second bar, which can be considered an argument for overlooked naturals. Another argument is provided by the fact that Chopin was often uncertain regarding the current key signature – e.g. in bar 317 we can see a  to a, which could mean that Chopin temporarily considered a note at this pitch devoid of a  to be a (other similar situations – see, e.g. bar 185, 283 or 297). According to us, the second group of arguments is slightly more convincing, hence in the main text we provide the version with an A-a octave, considering A-a an equal variant.
The compliance between A and EE seems accidental – EE1 stands out due to its number of oversights and mistakes, out of which not all were corrected in EE2.

category imprint: Differences between sources

issues: GE revisions , Errors of A

b. 317-318

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

 in A (literal reading→GE→FE,EE,IE)

Long accents in A, contextual interpretation
..

In A each of the three  marks fills a half of a bar, which was repeated in GE (→FE,EE,IE), with minor inaccuracies. Such repeating  marks are generally long accents, hence in the main text we present them in this standardised form. An additional justification for such an interpretation is provided by the marks in analogous bars 108-109.
Similarly, in bars 321-322.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Long accents

b. 317

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

..

In the main text we omit the unjustified  (cautionary?) to a in the 1st L.H. chord, present in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals