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b. 348

composition: Op. 31, Scherzo in B♭ minor

Slur from f in A (→FE,FC→GE)

Slur from B in EE
..

The version of EE, which can be considered an interpretation – ignoring the musical sense – of the slur of A, written with panache, could have been repeated after FE, which, after all, was based on A. In the very FE the erroneous slur would have been corrected in the last phase of proofreading (although there are no visible traces of such a correction on the available photocopies of FE copies). In turn, the slur in GE1 – beginning from f in the previous bar – is completely erroneous. The engraver could have mistaken the bars, since they end with the same note (the mistake was corrected in subsequent GE).

category imprint: Interpretations within context; Differences between sources

issues: Inaccurate slurs in A , Errors in GE , GE revisions , Authentic corrections of FE , Inaccuracies in FC

b. 348

composition: Op. 31, Scherzo in B♭ minor

  in A (→FE→EE) & GE2 (→GE3)

No markings in FC (→GE1)
..

In the main text we include the   markings written in A (→FE→EE). Their absence in FC (→GE1), in which the pedalling of the eight-bar section encompassing this bar (b. 346-357) was also written by Chopin, is, according to us, a result of the composer's inattention (cf. b. 448-459).
In GE2 (→GE3) the pedalling was added on the basis of a comparison with analogous bars.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , GE revisions , Authentic corrections of FC

b. 349-352

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

Slur in bar 352 in A (→GE→FE)

Double slurs in bars 349-352 in EE

Single slurs suggested by the editors
..

Same as in all previous similar bars, we consider the missing slurs in the L.H. in bars 349-351 to be an inaccuracy of the notation of A (→GE→FE), resulting from an increasing haste. Due to this reason, we add slurs after bars 1-3 and 25-27. In EE, in all four bars, arbitrary double slurs for each pair of dyads were introduced.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 349

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

..

In the main text we omit the cautionary  before d2, present in all sources, yet unjustified in this context.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 350

composition: Op. 39, Scherzo in C♯ minor

e1 in EE and FE

d1 in GC (→GE)
..

In GC the middle note of the last chord is notated inaccurately - even though it looks more like d1 (and it was read accordingly in GE), but it cannot be ruled out that the copyist meant to notate e1 based on the following:  

  • e1 in both EE and FE;
  • notating this note higher than clear d1 in the previous chord;  
  • Gutmann's tendency to write notes too low on the line - such inaccuracy appears in his copy three times more often than an opposite situation when a note below the line (or between the lines) is written too high. On the same page of GC we see examples of notes written too low (g) in bars 342 and 345.

Therefore, in the main text we present e1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GC