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b. 192-198

composition: Op. 39, Scherzo in C♯ minor

..

In GC (→GE) and FE the lower notes of the L.H. octaves in bars 192-194 and 198 were marked in an abbreviated manner with the digits 8. In EE, they were written out in notes, and we adopt that notation as matching today's standards. Similarly in bars 199, 236-240 & 486-493. See also the note concerning bars  195-196.

category imprint: Editorial revisions; Source & stylistic information

issues: Abbreviated octaves' notation

b. 192

composition: Op. 64 No 2, Waltz in C♯ minor

 before rest in A

 under rest in FE (→EE)

 after rest in GE1op (→GE2op→GE3op) & GE2no2)

No pedalling in GE1no2
..

We give the moment of the pedal's release in the main text after A. Minor shifts of  in the editions, particularly in GE, may suggest, taking into account the context, i.e. the end of the piece, a longer dying out of the sound, probably contrary to the intention of Chopin. The absence of indications in GE1no2 is undoubtedly an oversight. 

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Errors in GE , GE revisions

b. 192

composition: Op. 21, Concerto in F minor, Mvt I

..

In A there are no naturals raising B1 to B1 and d2 to d2. The first of them was added already in GE1 (→FE→EE), the second one – only in EE and GE2.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Inaccuracies in A

b. 192

composition: Op. 21, Concerto in F minor, Mvt I

in A & GE2

No marking in FE (→EE)
..

The omission of  in FE (→EE) could have been a result of Chopin's proofreading and it was almost certainly accepted by him.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 192-194

composition: Op. 21, Concerto in F minor, Mvt I

Slur in bars 192-194 in A & GE2

Slur in bar 193 in GE1 (→FE→EE)
..

The slurs of A (our main text), showing precisely the phrasing of the melody in the topmost voice, was replaced in GE1 with slurs embracing entire bars. It is a characteristic example of a schematic and disrespectful approach of the engraver of this edition to Chopin slurs. The authentic slurs (except for the ending of the slur in bar 194) were restored in GE2.  

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions