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b. 200

composition: Op. 16, Rondo in E♭ major

Long accent in FE (→GE)

Short accent in EE3

No mark in EE1 (→EE2)
..

The missing accent was certainly overlooked by the engraver of EE1 (→EE2). An accent – a short one – was added in EE3.

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in EE

b. 200-208

composition: Op. 31, Scherzo in B♭ minor

No marks in A (→FE→EE)

Long accents in bars 200-201 in FC

Short accents in bars 200-201 in GE1

Short accents in GE2 (→GE3)

Long accents suggested by editors
..

Differently than in analogous b. 68-77, Chopin did not write any accents in b. 200-201 & 208-209 in A; he could have considered the marks written for the first time to be sufficient. However, while proofreading FC he added accents in b. 200-201, which confirms their validity also in this appearance of the theme. Due to the above reason, in the main text we also add a mark in b. 208 (and 209). Accents were also added in GE2 (→GE3). In GE all marks in those bars are common, short accents.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Inaccuracies in GE , GE revisions , Authentic corrections of FC

b. 200

composition: Op. 22, Polonaise

Grace note in FE

No grace note in EE & GE
..

In FE this bar is identical to b. 56. The version of EE and GE is most probably an earlier version of this place, changed by Chopin in the last stage of proofreading of FE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 200-206

composition: Op. 44, Polonaise in F♯ minor

..

The prototype of these bars – to the 1st beat of b. 206 – is the first phrase of AImaz, a draft autograph constituting an additional source of the Polonaise. In this autograph, the fragment is written down half a tone lower, in E major with modulation to B major, not having been transferred to a higher octave in b. 202. In the notes discussing the text of AImaz, we give the pitch after transposition to the key of the respective bars of the Polonaise (half a tone higher).
Further on, AImaz corresponds to b. 220-243 of the final version. 

category imprint: Corrections & alterations; Source & stylistic information

b. 200-203

composition: Op. 2, Variations, complete

No octaves in AsI

Octaves in A (→GE→FE,EE,FESB)
..

As in bars 128-131, in A the L.H. octaves are written down in an abridged manner with the use of con 8va. In the editions the octaves were written out in full. The absence of this indication in AsI could be merely a simplification of notation.

category imprint: Differences between sources; Editorial revisions; Source & stylistic information

issues: GE revisions , Bass register changes , Abbreviated octaves' notation