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b. 122-123
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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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 |
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b. 122
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composition: Op. 44, Polonaise in F♯ minor
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Naturals instead of flats before the last demisemiquaver (in both hands) is probably a mistake of the engraver of GE1, repeated in GE2. In turn, in EE we can assume a revision, since an analogous version with c notes is also in b. 98 there. category imprint: Differences between sources issues: EE revisions , Errors in EE , Errors in GE |
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b. 122
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composition: WN 29, Waltz in E minor
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As in bar 18, the missing staccato dot in this bar is probably an oversight by Chopin – cf. bar 114. GE added the dot most probably by analogy with bar 114 (or by mistake – in analogous bars 18 and 50 no dots were added). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 122
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composition: WN 29, Waltz in E minor
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The missing slur in PE is one of a few defects in this fragment of the Waltz (see bar 115). In the main text we add a slur, as it was performed in GE. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Errors in PE |
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b. 122
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composition: Op. 49, Fantaisie in F minor
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The FE (→EE1) version resulted from Chopin's correction – the traces of removal of e1 are visible in FE (among the copies presented in our system, most clearly in FE2). In EE2 the note was restored, most probably after comparing it with GE1. In Chopin's pieces there are many examples of chords in the middle or high register with both tripled and quadrupled bass. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE |
) suggested by the editors
(2) in 
