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b. 368

composition: Op. 2, Variations, complete

No sign in sources

[] suggested by the editors
..

The missing  asterisk in the sources does not have to be Chopin's oversight. In such descending figurations preceded with a bass note, we often encounter notation without this mark, which suggests that the composer resorted to such notation either when he did not want to specify the moment the pedal should be released or when he could not decide on one of the versions, cf., e.g. the Etude in D, Op. 25 No. 8, bars 19-20, 27 or the Waltz in C minor, Op. 64 No. 2, bars 15-16. On the other hand, there is a number of places (e.g. among the above examples) in which Chopin added a  mark in some sources, probably to avoid a too long or a too short pedal. Guided by similar motives, in the main text we indicate a possible pedal release in a place in which the shape of the L.H. figuration changes, thus exposing the bass line more clearly (according to Chopin's intention probably gradually, which is indicated by the subsequent change of notation in bar 370).

category imprint: Editorial revisions

issues: No pedal release mark

b. 368

composition: Op. 2, Variations, complete

..

In the main text we add cautionary accidentals in the 1st triplet – naturals to c3 and c4 and flats to e3 and e2. The accidentals were also added in GE3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 369-375

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

Long accent on 3rd beat in A (→GE→FE)

Short accents on 2nd beat in EE
..

In EE the notation of the accents in all of these bars was unified in such a way that the  and the accent (short) constitute one marking under the f3-f4 octave. Since in FE an accent is present only in bar 369 (a long one on the 3rd beat), it required moving this sign and adding 6 further accents – it was certainly analogous bars 29-32 that were taken as the model in this case. Due to the differences in the remaining sources, we discuss bars 370-371, 372 and 373 separately.

category imprint: Differences between sources

issues: EE revisions

b. 369

composition: Op. 11, Concerto in E minor, Mvt III

No marks in FE (→GE,EE)

Long accents suggested by the editors
..

The accents present in three similar bars – bars 361, 363 and 371 – make us consider the absence of respective marks in the discussed bar to be Chopin's oversight. At the same time, the presence of long accents in bars 368 and 371 suggests that Chopin could have envisioned long accents for the R.H. in the entire four-bar section (differently than in bars 360-363).

category imprint: Editorial revisions

issues: Long accents

b. 369-371

composition: Op. 11, Concerto in E minor, Mvt III

No markings in FE (→GE1→GE2)

​​​​​​​ in EE

  ​​​​ in GE3

[  ​​​​ ] suggested by the editors
..

An isolated  mark left at the beginning of bar 369 is almost certainly an oversight. Due to harmonic reasons, the pedal must be changed before bar 370, whereas performing any of the brilliant passages without pedal is inconceivable in this eventful fragment. Bar 360 opens a new page in FE, which favours such inaccuracies. Therefore, in the main text we add both a ​​​​​​​ mark at the end of bar 369 and a two-bar pedal in bars 370-371. The former was introduced already in EE, while GE3 introduced both.   

category imprint: Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions , No pedal release mark