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b. 171

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

Fingering written into FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 171-175

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

No L.H. slurs in FE

Slurs in GE & EE
..

The missing slurs of FE must be an inaccuracy of notation – except minor inaccuracies, in the entire theme, both here and in bars 415-449, identical slurs are written in the parts of both hands. Slurs were added both in GE and EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 171-173

composition: Op. 31, Scherzo in B♭ minor

No markings in A (→FE→EE)

Pedalling in FC (→GE)
..

In the main text we include the pedalling added by Chopin in b. 172 in FC (→GE). In A one can see a correction of pedalling: the  mark, initially written at the end of the phrase (b. 173), was deleted and written at the end of b. 171. 

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Authentic corrections of FC

b. 171

composition: Op. 22, Polonaise

No marking in FE

 on 2nd beat in EE

 at end of bar in GE

[] suggested by the editors
..

Just like in b. 27, the missing  asterisk is almost certainly an inaccuracy; therefore, in the main text we add it after b. 169. The mark was added in EE as well as in GE2 (→GE3), although with a manifest error.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions

b. 171-172

composition: Op. 50 No. 3, Mazurka in C♯ minor

AI version

AF (→FE)

Same with  a2 in EE

GE
..

Without access to [AG], it is impossible to determine whether and which version Chopin considered to be final. The general concordance between AI and GE suggests that this version was created first; however, even if it was the case, it does not mean that an alternative idea – the version of AF – was already the final word, since there are numerous examples, supported by sources, of returns to original versions, which was poignantly described by George Sand. Therefore, having a choice between two equal authentic versions, in the main text we give the text of GE, which is the principal source adopted for the entire op. 50.  

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes , Enharmonic corrections