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b. 45

composition: Op. 2, Variations, complete

Slur in A

No slur in GE (→FE,EE)

..

The missing ending of the slur from the previous bar is an inaccuracy of GE (→FE,EE) – see the note in b. 44.

category imprint: Differences between sources

b. 45

composition: Op. 2, Variations, complete

Wedge in A (→GEFE,EE)

No mark in FESB

..

The missing wedge for the L.H. octave is a mistake of FESB (revision? – in this layout the wedge could have seemed superfluous, since the one over the R.H. chord is valid for the L.H. too). A comparison with b. 46 reveals that in this version of the initial motif of the theme of the Variations, Chopin wanted to mark each of the first three notes with staccato markings (different – see the next note).

category imprint: Differences between sources

issues: Errors in FE

b. 45

composition: Op. 2, Variations, complete

..

In the main text we add cautionary naturals to the G1-G octave.

category imprint: Editorial revisions

b. 45-46

composition: Op. 2, Variations, complete

Staccato dots in A

Wedges in GE (→FE,EE,FESB)

..

In the main text we keep the staccato dots clearly written down in both bars in A. The wedges of GE (→FE,EE) probably resulted from the engraver's carelessness or from his conviction that the marks could be regarded as equivalent.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 45-46

composition: Op. 2, Variations, complete

Notation in A (→GEEE,FESB)

Notation in FE1 (→FE2)

..

In the main text, we place a demisemiquaver under/over the last note of a semiquaver triplet in each of the 4 places where such a combination occurs, in accord with the notation of A (→GEEE,FESB). In FE1 (→FE2) the demisemiquaver in these figures is placed after the last semiquaver of the triplet. This is certainly an arbitrary revision of the engraver of this edition, who had not yet seen that Chopin was using this Baroque-Classical convention, which in the 19th century was gradually superseded by a notation conforming with the strictly calculated nominal rhythmic values of the notes.
Chopin would use that convention throughout his entire oeuvre – see the chapter dedicated to that issue in: Jan Ekier, Introduction to the National Edition, Editorial Issuesp. 183.

In all places (as well as in bar 44) AsI notes a dotted rhythm in twice the rhythmic values, as . This is an obvious mistake.

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Dotted rhythms and triplets , FE revisions