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b. 310

composition: Op. 44, Polonaise in F♯ minor

in GE

No sign in FE (→EE)
..

In the main text we include the  mark present in GE. See b. 314-326.

category imprint: Differences between sources

b. 310

composition: Op. 2, Variations, complete

3 staccato dots

3 wedges in GE1 (→EE,FE1→FE2, →GE2→FESB)

6 wedges in GE3
..

The wedges in the editions resulted from the engraver of GE1 having misinterpreted the authentic dots. In GE3 wedges were arbitrarily added over the chords too (cf. bar 305).

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 310

composition: Op. 2, Variations, complete

in A

in GE1 (→GE2,EE,FE1→FE2)

in FESB

No sign in GE3
..

The differences in the range of the  hairpin resulted from routine revisions, adjusting the marks to rhythmic structures or beams – in GE1 (→GE2,EE,FE) on the left-hand side, while in FESB also on the right-hand side. The absence of the mark in GE3 is an oversight by the engraver. In the main text we reproduce the mark of A.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , Errors in GE , GE revisions , FE revisions

b. 311-312

composition: Op. 39, Scherzo in C♯ minor

 in EE & GC (→GE)

FE

Our variant suggestion
..

Both pedalling versions are undoubtedly authentic and here is why we suggest a variant.

category imprint: Differences between sources

b. 311

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

..

In A (→GE1) naturals are written only before the 1st quaver in the L.H. and the 2nd quaver in the R.H. FE added a  before the 4th quaver in the L.H. (possible Chopin's proofreading), whereas GE2 – both necessary naturals in the L.H. It is only EE that includes the correct text.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , Inaccuracies in A