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b. 221-226

composition: Op. 31, Scherzo in B♭ minor

No sign in A (→FE→EE)

 in FC (→GE1)

Longer  in GE2 (→GE3)
..

In the main text we give the almost six-bar  mark entered by Chopin into FC (→GE1). The subsequent GE slightly extended the hairpin, leading it to the end of b. 226.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections of FC

b. 221

composition: Op. 22, Polonaise

No indication in FE (→GE,EE)

'Solo' added by editors
..

In the main text we add the indication Solo, indispensable after Tutti, which appeared two bars earlier – cf. b. 77.

category imprint: Editorial revisions

b. 221

composition: Op. 22, Polonaise

risoluto in FE (→GE)

brillante in EE
..

It is difficult to explain how the risoluto indication was replaced in EE by brillante. It was probably an arbitrary decision of the publisher, although it could have also been the initial version, changed by Chopin in FE (→GE) in the last stage of proofreading.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 221-222

composition: Op. 44, Polonaise in F♯ minor

No markings in GE & EE

Pedalling in FE
..

In the main text we include the pedal markings of FE, added by Chopin probably to the basis for FE. The missing markings in EE are probably the engraver's mistake. See also b. 223.

category imprint: Differences between sources

issues: Errors in EE

b. 221

composition: Op. 23, Ballade in G minor

No markings in sources

Pedalling suggested by the editors
..

It is unclear whether it was Chopin's intention for this bar to be devoid of pedal markings. In A, there are no markings starting from this bar to the end of the page (b. 233). Therefore, it is quite likely that we are dealing with a case of distraction (cf. b. 217-218), particularly since the markings added while proofreading FE in b. 222-223 prove that it was not the composer's intention for there to be no markings at all. On the other hand, if Chopin added pedal markings in the next two bars, he could have added them here as well, which can be considered a confirmation or at least an acceptance of their absence. However, it is also this argument that can be refuted – while proofreading FE Chopin probably did not check the sound at the piano and could have taken into account only the L.H. part, which does not require a pedal in the discussed bar, at least for harmonic reasons. However, it is advisable due to the R.H. part and its harmonic figuration spanning two octaves. The need for pedal in a similar context is confirmed by the 2nd half of b. 220, b. 216, 218 and analog.
Taking into account the above, in the main text we suggest adding pedal markings in a variant form.

category imprint: Editorial revisions