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b. 111-112

composition: Op. 22, Polonaise

..

In the main text we omit the unjustified cautionary flats before the a1 notes. These accidentals are absent in the repetition of this phrase in b. 119-120; therefore, Chopin could have been driven by the key to which the music strives – G minor in b. 111-112, yet D major in b. 119-120.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 111-112

composition: Op. 22, Polonaise

Short accents in FE (→GE,EE)

Long accents suggested by the editors

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We reproduce the four accents over the L.H. chords as long accents. According to us, they emphasise characteristic two-note motifs, used by Chopin on a number of occasions in other pieces. In the Etude in G Major, Op. 10 No. 5, b. 17-21, in the proofread version of the French edition, the motifs were provided with marks that were almost certainly long accents according to the composer's intention.
The same in b. 119.

category imprint: Editorial revisions

issues: Long accents

b. 111

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

Short accent in AF (literal reading→FEEE) & GE

Long accent in Af, contextual interpretation

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Just like in b. 19, the notation of AF is inconclusive as to which type of accent was meant here by Chopin. According to us, due to Chopinesque proofreading of analogous b. 115, a long accent is more likely. However, we recommend a short accent as an alternative solution.

category imprint: Graphic ambiguousness

issues: Long accents

b. 111-116

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

Staccato dots in bars 112, 115 & 116 in AF (→FE)

Dots in bars 115 & 116 in EE

Dots in bars 111 & 116 in GE1

Dot in bar 116 in GE2

Dots in bars 111-112 & 115-116, our alternative suggestion

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In the main text we include the staccato dots under the bass notes in b. 112, 115 and 116 on the basis of AF (→FE). As an alternative solution, we suggest taking into account the dot of GE1 in b. 111 too. The omission of some of the dots in EE and GE2 is an oversight of the engravers.

category imprint: Differences between sources

issues: Errors in EE , Errors in GE

b. 111-112

composition: Op. 44, Polonaise in F♯ minor

No marks in GE

Long accents in FE

Short accents in EE

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According to us, the long accents of FE could have resulted from an incorrect interpretation of the handwritten marks by the engraver. Therefore, in the main text we accept the interpretation of EE. The missing accents in GE are most probably Chopin's or the engraver's inadvertence.

category imprint: Differences between sources

issues: Long accents , EE inaccuracies , Authentic corrections of FE