mUltimate Chopin

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b. 8

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

..

In Atut (→FE), there is no  restoring d1. Chopin's patent mistake was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Authentic corrections of FE

b. 8

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

Accent in Atut

No mark in FE (→GE,EE)
..

We consider the missing accent in FE (→GE,EE) to be the engraver's oversight.

category imprint: Differences between sources

issues: Errors in FE

b. 8

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

Fingering digit in Atut

Fingering in Atut, interpretation suggested by the editors

No fingering in FE (→GE,EE)
..

According to us, the distinct dash visible in Atut on the right-hand side of the last chord is a fingering digit (1), referring to the d1-e1 second. Its omission in FE (→GE,EE) is probably a result of misunderstanding this mark (or a simple oversight). In the main text, we add a brace indicating the notes this digit applies to. 

category imprint: Differences between sources

issues: Errors in FE

b. 8

composition: Op. 31, Scherzo in B♭ minor

..

In GE1 the middle note of the 2nd chord in the R.H. is a d3 instead of c3. A comparison with the other sources and analogous bars proves that it is a mistake, corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions

b. 8-16

composition: Op. 22, Andante spianato

Long accents in FE (→GE1), contextual interpretation

Short accents in EE & GE2 (→GE3)
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We reproduce the accents in b. 8, 11 and 16 as long ones, although the marks in FE cannot be unequivocally classified as long or short accents (however, they are clearly longer than the accents in b. 52 or 55-62). Long accents are strongly supported by the musical context: the accentuated e3 in b. 8 is the longest and top-most note of the 8-bar phrase, while the syncopated c3 in b. 11 is a similar type of climax of the final melodic section of this phrase. We encounter a similar problem in the evaluation of the accents in GE1: it is only the clearly shorter marks in b. 52 (as well as a greater number thereof in the Polonaise) that convince us to consider them long. The marks in EE and GE2 (→GE3) must be short.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , EE inaccuracies