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b. 162-163
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composition: Op. 31, Scherzo in B♭ minor
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In accordance with the analysis of the Chopinesque category imprint: Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies |
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b. 162-165
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composition: Op. 31, Scherzo in B♭ minor
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There are probably several reasons for the differences in the slurring of these bars. The slur of A (→FE) is probably inaccurate – one can see that Chopin was running out of ink; therefore, one can assume that it was supposed to reach the beginning of b. 165, like in analogous b. 30-33. This is the interpretation of the slur of A that we give in the main text. The slur of FC is clearly erroneous – the copyist reproduced only the ending of the slur of A, falling on the beginning of a new line, despite the fact that the line in A opens with b. 164, whereas in FC – with b. 163. GE1 repeated the notation of FC; however, the slur was led to the beginning of b. 164, which can be considered an interpretation of the slur of FC. GE2 regarded the slurs of FC and GE1 as erroneous and replaced them with a slur modelled after b. 30-33. GE3 generally returned to the version of FC, yet the beginning of the slur was placed in b. 162, which does not affect its meaning. category imprint: Differences between sources issues: Inaccurate slurs in A , GE revisions , Errors of FC , Uncertain slur continuation |
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b. 162
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The autographs are lacking in cautionary accidentals in this bar. In FE (→EE) a category imprint: Differences between sources; Editorial revisions issues: EE revisions , Cautionary accidentals , FE revisions |
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b. 162-163
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composition: Op. 44, Polonaise in F♯ minor
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The slur of the majority of the sources was probably inaccurately written by Chopin in [A]. It could also be the initial version, left by inadvertence, changed in the remaining places at the time of writing [A]. Therefore, in the main text we suggest a longer slur, compliant with all analogous bars (142-143 and 201-202). The slurring of those places was similarly standardised in GE2. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 162-164
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composition: Op. 44, Polonaise in F♯ minor
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The pedal markings in b. 162 and 164 were probably introduced by Chopin into the basis for FE (→EE). In the former one can see in FE traces of the category imprint: Differences between sources issues: Authentic corrections of FE |
in 
marks in this and analog. pairs of bars (see 
was added before the d
crotchet; the sign is also present in 
mark having been moved a beat earlier in print, while misplacing a mark is much more likely when reproducing a manuscript than an entry in a proof copy. The first 
mark is placed in