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b. 122

composition: Op. 11, Concerto in E minor, Mvt III

Wedges in FE (→EE) & GE3

No marks in GE1 (→GE2)
..

The missing wedges at the beginning of the bar are most probably an oversight of the engraver of GE1 (→GE2). The marks were added in GE3.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 122

composition: Op. 16, Rondo in E♭ major

Slurs in #FE (→GE,EE)

Slur suggested by the editors
..

A slurring that separates the grace note from the subsequent quaver is unnatural and points to a possibly inaccurate interpretation of the notation of [A]. However, it is unclear which slurs Chopin meant:

  • the slur could have been divided earlier –  or ;
  • both slurs were supposed to be combined, but the notation was imprecise.

In the main text, we adopt the latter, taking into account the slur in analogous bar 274.

category imprint: Interpretations within context; Editorial revisions

issues: Inaccuracies in FE

b. 122

composition: Op. 22, Polonaise

Dotted rhythm in FE (→GE)

Quavers in EE
..

Two quavers in EE is the initial version, most probably authentic. In FE one can see that the dotted rhythm was introduced only just at the stage of proofreading.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes , Dotted or even rhythm

b. 122-123

composition: Op. 50 No. 3, Mazurka in C♯ minor

Slur in AF (→FE→EE)

No slur in GE
..

The missing b1-c2 slur in GE is probably Chopin's inadvertence at the time of performing the last retouches of [AG]. 

category imprint: Differences between sources; Corrections & alterations

issues: Omitted correction of an analogous place

b. 122-123

composition: Op. 50 No. 3, Mazurka in C♯ minor

No pedalling in sources

( ) suggested by the editors
..

In the main text we suggest the pedalling markings written in AF (→FE→EE) in analogous b. 30-31 in a variant form.

category imprint: Editorial revisions