It is hard to determine to which extent the difference between the indications used in bars 49-52 in A and FE is a result of the engraver's inaccuracy and to which extent – of Chopin's proofreading. Varied proofreading interventions of the composer in FE are beyond any doubt – additions of accidentals in bars 49 and 53, addition of 
and slurs in bar 49. On the other hand, the proofs of the engraver's inattention are equally clear – omission of slurs in bars 50-51 and 52-53, erroneous accidentals at the beginning of bar 53. Eventually, there are changes which are impossible to classify – the change of 
to combined with moving this mark on the 2nd beat of the bar in bar 49, change of position and type of accents in bars 49-50, change of legatiss. to leggierissimo in bar 51 or omission of delicatiss. in bar 49 and e dim. in bar 52. Taking into account the fact that:
- the changes in FE are not limited to omissions and possible errors, yet they also include additions which cannot be considered as mistakes,
- the general image of music resulting from the indications of FE is equally cohesive as the one written in A,
- Chopin, independently from possible inaccuracies of the proofread text of FE, accepted it as a whole in such form,
we consider the version of FE (→GE,EE) as basic, if only the possible inaccuracies or errors do not hinder reading and understanding the music.
category imprint: Interpretations within context; Differences between sources
issues: Authentic corrections of FE
notation: Verbal indications
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