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b. 160

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

..

AI is lacking in a  restoring f1 on the 2nd beat of the bar; in turn, it features a superfluous  before c1. All the remaining sources contain the necessary sign before f1, yet it is only GE in which there is no  before c1.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Cautionary accidentals

b. 160

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

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There is an unjustified  (cautionary?) before the A crotchet in GE. It is difficult to tell whether the accidental was already in [AG], and if not, whether it was added by the reviser or by Chopin.

category imprint: Differences between sources

issues: Cautionary accidentals

b. 160

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

No mark in AI, GE & EE

in AF

Long accent in FE
..

The mark in AF, in spite of its excessive size, could be considered a long accent if it were not for an even longer mark in analogous b. 168. Due to this reason, in the main text we keep the form of this mark written in AF, which, according to Chopin, could have been supposed to emphasise not only the minim, but also its modulating continuation. The absence of the mark in EE probably means that it was overlooked in the proof copy of FE. Then the long accent printed in the finished FE would be a result of Chopin's proofreading. A similar situation can be found in b. 168.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Scope of dynamic hairpins

b. 160

composition: Op. 2, Variations, complete

Triad in AsI & A (→GE→EE,FESB)

Sixth in FE
..

As before, in the main text we give a sixth, introduced by Chopin instead of a three-note chord while proofreading FE. In this bar, it is also AsI that provides the alternative L.H. part (featuring the three-note chord of the initial version). In this manuscript, a three-note chord – D-F-B – is also on the 4th quaver; however, F was eventually removed. See also the note in the next bar.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Authentic corrections of FE

b. 161

composition: Op. 43, Tarantella

 
..

In A there are no augmentation dots on the c1-e1 third at the beginning of b. 153 (and also 161, marked as repeat). The corresponding b. 149 (157) is illegible due to the charred manuscript, and threre are no reasons to differentiate them, in which case all augmentation dots in FC3 (→FE→IE), GE and EE must have been added by the copyist, who decided they had been omitted by Chopin (as some such omissions were traced in Chopin's A).

category imprint: Interpretations within context; Differences between sources; Editorial revisions