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b. 189-190

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

One-bar pedal in A (→FE→GE1op,GE1no2,EE)

Two-bar pedal in GE2op (→GE3op) & GE2no2
..

Similarly as in bars 61-62, in later GE the pedalling in bars 189-190 was changed after bars 45-46.

category imprint: Differences between sources

issues: GE revisions

b. 189-191

composition: Op. 11, Concerto in E minor, Mvt I

No fingering in FE (→GE)

Fontana's fingering in EE
..

category imprint: Differences between sources

issues: EE revisions

b. 189

composition: Op. 11, Concerto in E minor, Mvt I

No fingering in FE (→GE)

Fontana's fingering in EE

Fingering written into FEH
..

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH

b. 189

composition: Op. 11, Concerto in E minor, Mvt III

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 189

composition: Op. 31, Scherzo in B♭ minor

No marking in A (→FC→GE1, →FE→EE) & GE3

in GE2
..

The authentic sources are devoid of the dynamic marking, which may suggest that it is  from b. 185 that is valid. According to us, it is an oversight of the composer, since it is only the  dynamics that can comprehensively reveal the fullness of sound of this virtuoso passage, encompassing almost the entire available range on Chopin's pianos. Chopin could have also assumed that another repetition of an identical passage (the last written out with notes) for the fourth time – after b. 49, 57 & 181 – does not require a reminder of the proper dynamics. Due to the above reason, in order to avoid misunderstandings, in the main text we add . A similar addition was introduced in GE2, but removed in GE3.
A similar situation can be found in b. 640. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions