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b. 145-147
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composition: Op. 11, Concerto in E minor, Mvt III
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In each of these bars, FEH features a vertical accent over the 4th semiquaver of the bar. The first two only confirm (or possibly explain the meaning of) the printed long accents. The third one may be considered an additional argument for adding an accent. category imprint: Differences between sources |
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b. 145-146
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composition: Op. 11, Concerto in E minor, Mvt III
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It is difficult to determine the reason the accent in GE was omitted – possible options are an oversight or a revision of GE (by analogy to bar 147?), or possibly the fact that the mark was added only just in the last phase of proofreading of FE. Not only did GE3 not complete that deficiency, but it also overlooked the mark in bar 146, which can also be interpreted as a mistake or revision. category imprint: Differences between sources issues: Errors in GE |
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b. 145-147
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composition: Op. 11, Concerto in E minor, Mvt III
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The fingering of FEH raises certain doubts, in particular the 4th finger on f category imprint: Differences between sources |
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b. 145
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composition: Op. 31, Scherzo in B♭ minor
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Just like in b. 13, in the main text we add cautionary flats. The addition was performed already in GE2 (→GE3). category imprint: Editorial revisions issues: GE revisions |
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b. 145-146
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composition: Op. 22, Polonaise
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The traces of removal of rests and demisemiquaver beams, visible in FE, show that every other semiquaver was initially a demisemiquaver preceded by a rest: category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE , Main-line changes |
3 in bar 145, which causes an unnecessary hand extension. 
. In the corrected version, the variants of the rhythm including demisemiquavers are introduced gradually, which makes this sequence more varied and related to the harmonic changes.