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Issues : Inaccuracies in FE

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b. 6

composition: Op. 26 No 2, Polonaise in E♭ minor

FE overlooked the pedal release mark written in A. It was added in GE and EE.

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category imprint: Differences between sources

issues: Inaccuracies in FE , No pedal release mark

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b. 6

composition: Op. 26 No 1, Polonaise in C♯ minor

in A (→FE→GE1, first time)

in FE (→GE1), first time & in GE2 (→GE3→GE4→GE5)

in EE

The sources differ in the range of hairpins. Taking into account various possibilities of interpretation of the not too carefully written signs in A (also in analogous bar 31) and a possibility of Chopin proofreading of FE (at the reappearance of this bar in the written repetition of bars 1-12), all three variants of the range of this sign can be considered to be potentially corresponding to Chopin's intention. In the main text we give the most possible interpretation of the hairpins of A.

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category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in A

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b. 6-7

composition: Op. 31, Scherzo in B♭ minor

Long accent in A (→FC)

in FE (→EE)

Short accent in GE1

in GE2 (→GE3)

The analysis of the or markings, written by Chopin in A in these and analogous bars, leads to the conclusion that, despite significant differences in length (from a long accent to a two-bar hairpin), all of them most probably denote long accents. Due to that reason, in the main text we decided to unify them; we adopted a compromise marking, which is more or less one-bar long. In the remaining sources Chopin did not interfere with the shape of those markings.