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b. 241-245

composition: Op. 31, Scherzo in B♭ minor

No indication in A

cresc. - - - in FC, FE (→EE) & GE2 (→GE3)

cresc.in GE1
..

Chopin added five-bar crescendi both in FC (→GE; in GE1 without dashes) and the proofreading of FE (→EE), which we take into account in the main text. It is noteworthy that the additions are fully compatible unlike for the first time (b. 109-116), when they differed in the range of the indication. See also b. 246-249.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of FC

b. 241-245

composition: Op. 22, Polonaise

..

Just like in b. 225, FE are lacking in the  lowering c2 to c2. The patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 241

composition: Op. 22, Polonaise

..

There is no  before the  mark at the end of the 1st half of the bar in FE. It may be a result of a misunderstanding related to the abridged notation of b. 241-260 in [A]. The mark was added in GE and EE.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , GE revisions

b. 241

composition: Op. 22, Polonaise

g-e1 in FE (→GE)

e-g-e1 in EE
..

Nothing points to a possible authenticity of the version of EE. It is probably a revision by analogy with b. 261 or a mistake, e.g. an unfinished correction of the e-e1 octave – the correct g note was added, yet the erroneous e note was not removed.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 241-242

composition: Op. 44, Polonaise in F♯ minor

b tied in GE

b repeated in FE (→EE)

Our variant suggestion
..

According to us, both source versions can be authentic, although mistakes cannot be ruled out:

  • in FE the tie to b could have been overlooked, like the slur in this bar;
  • in GE one can assume an unfinished correction – the tie was printed by mistake instead of the tie from the previous bar, and one forgot to remove it after the correct one had been added (examples of such unfinished corrections – see, e.g. the Concerto in F minor, Op. 21, III mov., b. 282 or the Ballade in F, Op. 38, b. 179).

Due to the above reason, in the main text we suggest a variant solution.

category imprint: Differences between sources; Editorial revisions