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Issues : Authentic corrections of FE

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b. 261

composition: Op. 42, Waltz in A♭ major

Pedalling in FE1

No pedalling in FE0 (→EE,FEG→GE)
..

The pedalling in this bar was written by Chopin only in the proofs of FE. Similarly in bars 273-276.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 261-264

composition: Op. 11, Concerto in E minor, Mvt I

2 lower slurs in FE (→EE)

No lower slurs in GE
..

The absence of the bottom slurs in GE most probably means that they were added by Chopin in the last proofreading of FE (→EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 261-262

composition: Op. 2, Variations, complete

No orchestral inserts in AsI & GE (→EE1→EE2, →FESB)

Progression of thirds in Af, contextual interpretation

Progression of thirds in A, contextual interpretation

Progression of sixths in FE & EE3

Complemented FE version suggested by the editors

Modified FE version, our alternative suggestion
..

All three source versions of the text written in smaller notes are rather a harmonic complement to the solo part when "performed without accompaniment" than an actual replica of the string voices. At the same time, the earlier versions of Af and A are closer to the orchestral part than the later one, placed in a higher register. All versions of notation also contain mistakes or rhythmic simplifications; we reproduce the clearly erroneous ones only in the content transcription (version "transcript").
To the main text we adopt the supplemented version of FE (repeated also in EE3), which is evidence of Chopin's latest interaction with the solo part urtext.
Alternatively, assuming the erroneous rhythmic value of the d1-b1 sixth, we suggest a modified version of FE1. The versions of Af and A are almost identical in terms of sound; the former allows us to locate the mistake in the vague rhythmic version of A in bar 261 – the a-c1 quaver is supposed to be a semiquaver. The missing orchestral inserts in AsI are due to its working, unfinished nature, while in GE – probably due to the vague notation of A.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: GE revisions , Rhythmic errors , Errors of A , Authentic corrections of FE

b. 262

composition: Op. 2, Variations, complete

Chord in AsI, FE & EE3

Supplemented FE version suggested by the editors

Chords & 'Violini' in Af

Chords &  in A

Solo part only in GE (→EE1→EE2, →FESB)
..

The versions of Af and A, identical in terms of the way they sound, differ only in additions – an indication specifying the instrumental group in Af and a  in A. As was the case with the previous such insert between bars 261-262, this replica was left out by GE (→FESB,EE1→EE2). In this case, however, it is difficult to indicate the probable cause of why this edition diverts from the basis. The fact that this insert was restored to FE in the initial version proves that Chopin hesitated whether to recall a chord being the basis of the first three beats of the bar at the expense of blurring the shape of the solo part.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Errors in GE , Accompaniment changes , Authentic corrections of FE

b. 263

composition: Op. 49, Fantaisie in F minor

..

In FE1 the 1st quaver in the 2nd half of the bar is a d. The mistake was corrected – perhaps at Chopin's request – in FE2 (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Authentic corrections of FE