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b. 130

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

Long accent in Atut

Short accent in FE (→GE,EE)
..

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE

b. 130-143

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

Long accents in FE (→GE1→GE2)

Short accents in EE & GE3
..

In FE, the majority of the accents in bars 130-131 and analog. are long accents – 7 out of 11 (compared to 2 short and 2 ambiguous); the ratio in GE1 (→GE2) is similar. Taking into consideration the fact that the Chopinesque mark of a long accent was not considered by the engravers to be a long accent but rather a short one or a ​​​​​​​ hairpin, we regard such a representation as a proof that Chopin meant long accents in this place.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , GE revisions

b. 130-131

composition: Op. 38, Ballade in F major

Minim c tied in A (→FE,GC→GE)

c repeated in bar 131 in EE
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The EE version results most probably from an oversight of the tie extending the minim c. GC (→GE1) overlooked the dot extending this note what was corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE , GE revisions , Errors of GC , Errors repeated in GE

b. 130

composition: Op. 22, Polonaise

b1 in FE (→GE) & EE2

a1 in EE1
..

EE1 features the initial version of the 6th semiquaver, changed in the penultimate stage of proofreading of FE (→GE). The changes of the correction performed on the plate are clearly visible in FE. In addition, the changed note (b1) was provided with a cautionary , which we omit in the main text, since it is superfluous in this context. The accidental was also removed in GE; it is also absent in EE2, in which the corrected note was introduced probably on the basis of GE1.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , GE revisions , Cautionary accidentals , Authentic corrections of FE , Main-line changes

b. 130

composition: Op. 22, Polonaise

..

In addition to the authentic cautionary  before the e2 semiquaver, in the main text we add flats before the L.H. octave.

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals