Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 24 No. 3, Mazurka in A♭ major
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The analysis of the difference in the notation between the two autographs makes one wonder whether prolonging of the bass note in A has practical meaning or whether it is only conventional notation employed to end a structurally important phrase with the tonic in root position.
Initially, A had the following version (later deleted and replaced): 
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There would be nothing strange about the later adding of a pair of quavers in the R.H., making the melodic connection with bar 1 smoother, if not for the fact that in AI that element was already written in its final shape.
category imprint: Differences between sources; Corrections & alterations
issues: Corrections in A, Accompaniment changes, Main-line changes
notation: Rhythm
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