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b. 167-168

composition: Op. 39, Scherzo in C♯ minor

All'ottava sign in EE, FE & GE

No sign in GC
..

Missing in GC is the octave sign in the L.H. part. That obvious error was corrected in GE.

category imprint: Differences between sources

issues: GE revisions , Errors of GC

b. 167

composition: Op. 26 No 2, Polonaise in E♭ minor

..

Like in previous occurrences of this bar A (→FE→EE1) has no  raising g1 to g1 on the 4th L.H. quaver. The obvious oversight was corrected in GE and EE2.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 167

composition: Op. 64 No 2, Waltz in C♯ minor

Slur from 1st quaver in A, GE & EE

Slur from 2nd quaver in FE
..

The version of FE is probably inaccurate – see bar 39.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 167-168

composition: Op. 64 No 2, Waltz in C♯ minor

 in A & GE1no2

Longer  in FE (→EE,GE1op→GE2op→GE3op) & GE2no2
..

In the main text we give the  hairpin on the basis of A. In FE and in the remaining editions – notwithstanding minor differences between them –  started one quaver earlier (only in GE1no2 the sign, probably as a result of an accidental shortening, has a range compatible with A).

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE

b. 167

composition: Op. 21, Concerto in F minor, Mvt III

Semiquaver in A

Slashed grace note in GE1

Quaver in FE (→EE)

Grace note in GE2

Rest & semiquaver suggested by the editors
..

The semiquaver opening the bassoon motif was given the form of a slashed grace note in GE, which could have been influenced by the notation of A, in which the grace note is unusually small. On the other hand, in A it is written as a semiquaver, in accordance with the rhythm in Morch in the part of bassoon, which is playing this motif. Therefore, it is unlikely that a grace note would be compliant with Chopin's intention. The reason for the change could have been formal rhythmic correctness, since due to the lack of rests before this note, only a grace note fits smoothly between three crotchets of this bar. In turn, it is difficult to say what the motivation of the person (Chopin?) who changed the grace note to a quaver in FE (→#EE) was. In the main text we choose the undoubtedly authentic notation of A, adding the rest overlooked by Chopin for the record.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections of FE , FE revisions