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b. 117

composition: Op. 31, Scherzo in B♭ minor

No mark in A (→FC→GE1, →FE→EE)

Staccato dot in GE2 (→GE3)
..

It is difficult to say conclusively whether leaving the R.H. chord without staccato dot was intended by Chopin. The dot in the L.H. and the presence of a dot in analog. b. 249 are an argument in favour of Chopin having overlooked the marking. However, on the other hand, the crotchets in b. 119, 121, 123 and 125, which can be considered analogous, are devoid of dots, in spite of the fact that the corresponding bass notes are provided with dots. According to us, an inaccuracy is more likely in this case (cf. the previous note on slurs); therefore, in the main text we give a dot. The mark was also added in GE2 (→GE3). 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 117

composition: Op. 31, Scherzo in B♭ minor

Staccato dot in A (→FC→GE)

No mark in FE (→EE)
..

The missing staccato dot in FE (→EE) is most probably an oversight of the engraver.

category imprint: Differences between sources

issues: Errors in FE

b. 117-118

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

in AF

in FE (→EE) & GE
..

It is the top arm of the  hairpin in AF, probably written first, that we consider to be reliable, since it emphasises the accenting nature of this mark. In FE (based on AF) the mark begins slightly later, which allows us to assume that it could have also been in GE that the engraver began the hairpin later in order to avoid an intersection with the bottom voice stem (two bars later the mark is present in GE only, hence without [AG] one cannot say whether Chopin repeated this notation there).

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins

b. 117-119

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

No pedalling in AF (→FE→EE)

Pedalling in GE
..

Just like in b. 25-29, the pedalling markings in b. 117 and 119 are an improvement introduced by Chopin in [AG] or at the time of proofreading GE1. See also b. 121.

category imprint: Differences between sources

b. 117-118

composition: Op. 49, Fantaisie in F minor

4 long accents in A (→GE)

2 long accents in FE

2 short accents in EE
..

The second accent in each of these bars visible in A (→GE) was probably added by Chopin to A after [FC] had been finished. The shorter accents in EE are an inaccuracy resulting from the fact that the EE editors were unaware of the existence of long accents as a separate category of accents.

category imprint: Differences between sources

issues: Long accents , EE inaccuracies