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b. 157

In A the c¹-e¹ third at the beginning of b.153 (and 161, marked as repeat) is not dotted. The corresponding b. 149 (157) is indecipherable in the charred manuscript; there is no legitimate reason to differentiate them. The augmentation dots in place in FC3 (→FE→IE), GE and EE may well have been added by the copyist, who must have assumed the Chopin had omitted them (as in A Chopin indeed had a few of omissions).

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b. 159

composition: Op. 43, Tarantella

In A The E-e octave in the second half of bars 151, 155 and 159 in LH is a crotchet without any augmentation dots or rests. It seems more appropriate to complete the rhythm with a rest, just yhe way Chopin notated it in a corresponding bar 163. The augmentation dots found in the discussed bars in #FE3 (→FE#(→IE), GE and EE must have been the copyist's addition.

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b. 160

composition: Op. 43, Tarantella

In all the sources except FC3 the chord on the second beat is written out as a crotchet with a quaver rest. In FC3 there are a rest and augmentation dot but only on the upper note of the chord.

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category imprint: Differences between sources

issues: Inaccuracies in FC

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b. 161

composition: Op. 43, Tarantella

In A there are no augmentation dots on the c¹-e¹third at the beginning of b. 153 (and also 161, marked as repeat). The corresponding b. 149 (157) is illegible due to the charred manuscript, and threre are no reasons to differentiate them, in which case all augmentation dots in FC3 (→FE→IE), GE and EE must have been added by the copyist, who decided they had been omitted by Chopin (as some such omissions were traced in Chopin's A).