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b. 314

composition: Op. 44, Polonaise in F♯ minor

E & e2(3) in FE & GE

E & e2(3) with naturals, our suggestion

E & e2(3) in EE1, contextual interpretation, 26-note run

E & e2(3) in EE2, 25-note run
..

In the main text we add cautionary naturals before E in the grace note opening the L.H. trill and before e2-e3 in the R.H. chord. Chopin's oversight resulted in the erroneous revisions of EE1 and EE2 – in the former the R.H. part was only routinely completed, i.e. sharps were added at the beginning of the bar, seemingly obvious after e2 in the last chord in the previous bar. It was only the reviser of EE2 that noticed that such a 'correction' required changes to the L.H. too; changes going beyond the addition of the overlooked accidental in the grace note preceding the trill – it was also the beginning of the roulade ending the trill that had to be changed, since the  added before the trill is valid also after the trill, resulting in an omission of E; in turn, we get a doubled E note. Therefore, in an authentic version of the roulade, a decision was taken to remove the second note.
As the revision introduced into EE1 results in a clearly erroneous text, in the content transcription (version 'edited text'), we raise E to E before the trill (and in the trill itself) and add a  restoring E in the second note of the scale following the trill, which eliminates the repetition of E, certainly unintentional.

category imprint: Differences between sources

b. 314-326

composition: Op. 44, Polonaise in F♯ minor

Pedalling in GE

No markings in FE (→EE)
..

In the main text we include the pedal markings of GE in b. 314-315, 320 and 323-326, entered probably into [A] after [FC] had been finished. We discuss b. 319 separately, in which the pedal markings of GE should be supplemented, according to us.

category imprint: Differences between sources

b. 314

composition: Op. 2, Variations, complete

No fingering in AsI & FESB

5 w A (literal reading→GE1→GE2,FE,EE)

3 in A (possible interpretation) & GE3
..

The fingering digit written in A could be interpreted twofold: as a '5', which is more graphically likely, or as a '3', which seems more natural, pianistically speaking. The source of the problem was the will to fit in the digit (apparently added later) under the word loco, ending the octave sign, which forced Chopin to write this digit almost horizontally; consequently, the resulting unnatural shape hampers the identification. The majority of the sources include a '5', whereas in the main text, we suggest a '3', due to practical reasons; it was also GE3 that considered this digit to be right. Such a solution is also supported by AsI, in which one can see deleted digits over the first two notes in the bar, most probably 5-4. In FESB both this digit and the adjacent ones were most probably overlooked (see the previous note).

The digit '3' added in pencil in our copy of GE2 is of no source value.

category imprint: Graphic ambiguousness; Differences between sources

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

b. 314

composition: Op. 2, Variations, complete

Fingering in AsI

No fingering in remaining sources
..

In the main text we include – on a similar basis as the teaching fingering – the fingering entered into AsI. Cf. bars 298-301.

category imprint: Differences between sources; Editorial revisions

b. 314

composition: Op. 2, Variations, complete

Fingering in AsI

Fingering in A (→GE→FE,EE)

Our variant suggestion
..

As in the R.H. part, in the main text we include – in brackets – the fingering of AsI, which is an extended version of the one that Chopin wrote in A (→GE→FE,EE).

category imprint: Differences between sources; Editorial revisions