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b. 5

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

No marking in A (→GEFE,EE,IE)

Arpeggio sign suggested by the editors

..

The missing arpeggio before the chord in the middle of the bar is almost certainly Chopin's oversight – wavy lines are present in both analogous bar 188 and 371.

category imprint: Editorial revisions

issues: Errors of A

b. 5

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

..

In A the  restoring B in the chord in the middle of the bar is missing. In A these accidentals are also absent the next two times this phrase appears, that is in bar 188 and 371. Nevertheless, the harmonic context indicates that it is a patent mistake by Chopin, which he committed earlier, perhaps when writing this movement as a draft, in which the subsequent appearances of this bar could have been marked in shorthand as repetitions of the first appearance. The flat was added in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A

b. 5

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

..

In A the  to the last quaver (e3) is missing. 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. 5

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

..

In EE1 the  lowering d1 to d1 and the  raising e4 to e4 were overlooked. The errors were corrected in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 6

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

..

In A the arpeggio wavy line is on the right side of the chord, which almost certainly does not impact its meaning. In the editions it is in its common position. See I mov. of the Sonatabar 202.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Inaccuracies in A