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b. 230
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we add wedges to the quavers at the beginning of the bar, since their absence in FE (→GE) can be easily explained by an oversight related to the transition into a new line of text. The virtuoso character of the figuration and a clear analogy between the progression's segments in bars 228-230 make the articulation of those quavers clear. The mark in the R.H. was added in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
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b. 230-231
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
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b. 230
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the category imprint: Differences between sources; Corrections & alterations issues: Placement of markings , Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |
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b. 230-234
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composition: Op. 22, Polonaise
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 230
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composition: Op. 44, Polonaise in F♯ minor
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The semiquaver beam to c category imprint: Interpretations within context; Differences between sources issues: Errors in EE |
in 
before e
2 in b. 230 and 234. The accidentals were also added in 
2 was overlooked in