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b. 210-211

composition: Op. 43, Tarantella

 
 
..

In GE4 there is an additional slur connecting d1 i c1 dotted crotchets in the middle voice.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 210

composition: Op. 39, Scherzo in C♯ minor

Octave in EE & GC (→GE1)

b in the chord in FE & GE2
..

The version of FE, subsequently copied in GE2, seems less fortunate than the more subtle version of EE and GC (→GE1).

category imprint: Differences between sources

issues: GE revisions

b. 210

composition: Op. 39, Scherzo in C♯ minor

g1 in EE

a1 in GC (→GE) & FE
..

It is difficult for us to tell how the version of EE came about. It cannot be entirely ruled out that it resulted from misreading the manuscript, yet it is much more probable that it was the authentic, perhaps earlier, version. For our main text we take the consistent and indubitable version of GC (→GE) and FE.

category imprint: Differences between sources

b. 210

composition: Op. 39, Scherzo in C♯ minor

 in EE & GC (→GE)

FE
..

EE and GC (→GE) have the  mark placed under the last chord, while FE has it placed after that chord. It is difficult to guess without the autograph what Chopin's authentic notation was like, and anyway even that notation could have been ambiguous. For our main text we adopt the version of the two out of three sources probably based on the autograph, i.e. EE and GC. A similar situation occurs in the analogous bar  460.

category imprint: Differences between sources

b. 210

composition: Op. 42, Waltz in A♭ major

in FEG (→GE) & EE

No indication in FE
..

Chopin added the sostenuto indication in FEG (→GE) and most probably also in the base text to EE.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE , Authentic corrections of EE