Issues : Abbreviated notation of A
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b. 55-64
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In [A] (→GC) the recapitulation is marked in an abbreviated manner as repetition of the first section. Chopin marked the discussed bars with numbers from 1 to 10, while over the first two he wrote Marche Da Capo. This indication, left either due to distraction or as an additional explanation for the engraver, was not printed – by the way, it was a correct decision – both in FE (→EE) and in GE. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 58
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composition: Op. 10 No 3, Etude in E major
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In AI the 2nd half of the bar is marked on the top stave as repetition of the first. See also the note on abbreviations in the L.H. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 58-59
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composition: Op. 10 No 3, Etude in E major
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In AI the semiquavers of the bottom voice in the R.H. are marked in the 2nd half of bar 58 as repetition of the 1st half. The continuation of this part in the next bar is not marked at all, which is certainly an inaccuracy of notation. However, it is not entirely clear how this continuation was supposed to look like in Chopin's intention, as one can imagine a slightly different addition to the versions of the top voice of the R.H. written out with notes (on the top stave) than the one that was included in the final version, e.g. f category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: Abbreviated notation of A |
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b. 58-72
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composition: Op. 50 No. 1, Mazurka in G major
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In A1 these bars are marked in an abridged manner with empty bars, numbered from 1 to 15, which requires b. 2-16 to be repeated. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 59
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composition: Op. 10 No 3, Etude in E major
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In AI the notation of the part of the R.H. is unclear in this bar. Chopin certainly performed corrections in it, yet it is unclear, which version is the last one. According to us, it is most natural to assume that Chopin strived for the version which he then eventually deemed as the best, while the remaining ones – written out with notes – are earlier: category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Abbreviated notation of A |
-b-f
and 
. Therefore, it is the sign defining this bar as repetition of the previous one that we consider to be written as the last one. See also the note on