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b. 249-253
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Generally speaking, the long accents added in GE are justified – Chopin indicated such a performance in the two preceding four-bar sections, as well as in bars 40-55. He used long, short and vertical accents and category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions , EE inaccuracies , |
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b. 249-250
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The divided slurs in IE are probably an inaccuracy related to the transition to a new line. category imprint: Differences between sources |
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b. 249-250
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text, we do not include the inauthentic R.H. fingering added by EE. category imprint: Differences between sources issues: EE revisions |
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b. 250
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composition: Op. 39, Scherzo in C♯ minor
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Absence of the pedal mark in this bar in FE is definitely accidental – not only are such marks present in the other sources, but also FE itself has them in analogous bars 258 and 266. category imprint: Differences between sources |
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b. 250
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composition: Op. 39, Scherzo in C♯ minor
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Absence of the arpeggio mark in EE is probably an error, yet the possibility that it is the first (original) notation cannot be entirely ruled out. category imprint: Differences between sources issues: Errors in EE |
marks (in various configurations). Due to the above, although the very accenting results from the preceding phrases, it is difficult to say which marks would be used here and next to which chords, hence in the main text we neither include the 
