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b. 6

composition: Op. 39, Scherzo in C♯ minor

in EE, FE and GE2

No marking in GC (→GE1)
..

Lack of  in GC (→GE1) can be hardly considered accidental, as the same situation occurs in bars 14 and 18. This is probably an earlier version of dynamic markings of the introduction. The missing  was added In GE2, probably after comparison with FE.

category imprint: Differences between sources

b. 6-8

composition: Op. 39, Scherzo in C♯ minor

 in EE & GC (→GE)

No sign in FE
..

The absence of the hairpin mark in FE may be due to oversight. We insert that mark, as it occurs both in EE and in GC (→GE). Cf. the preceding note.

category imprint: Differences between sources

b. 6-20

composition: Op. 39, Scherzo in C♯ minor

Slur in 3 places in EE

Slur in 2 places in GC (→GE)

No slurs in FE
..

The slur above the R.H. appears three times in EE (bars 6-8, 14-16 and 18-20) and twice (bars 6-8 and 14-16) in GC (→GE). FE has no slur in any of those places.

category imprint: Differences between sources

b. 6-7

composition: Op. 45, Prelude in C♯ minor

Two  signs in FE (→EE)

Possible interpretation of FE1

GE

Our variant suggestion
..

In the main text we suggest a variant solution that takes into account both the version of GE and that of FE (→EE). The two   marks that can be seen in FE1 (→FE2, EE) could correspond to one longer mark in the autograph, as in Chopin's times publishers used to replace a single hairpin mark   with two marks when it had to be divided because of a new line of text. For that reason we also propose an alternative version with such an interpretation of the marks. Due to differences in sources and clear analogies in the structure of motifs, the same problem also appears in ten other similar places in the Prelude (on this page in bars 10-11 and 20-21).

category imprint: Differences between sources

issues: Hairpins denoting continuation

b. 6-21

composition: Op. 45, Prelude in C♯ minor

..

In GE, whole notes constituting part of chords that also contain notes of different rhythmic values are placed close to the middle of the bar, more or less above the 4th quaver of the L.H. Such notation, characteristic for Chopin's autographs, has long gone out of use. In FE, the tendency to graphically separate whole notes is much less pronounced, while EE's notation is close to contemporary practice. 

category imprint: Source & stylistic information