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b. 249-250
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composition: Op. 22, Polonaise
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In the main text we omit the reminder flats before a category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 249
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The shorter GE slur (→FE,EE,IE) – it ends in the preceding bar – most probably resulted from a misunderstanding of the A notation. See the note at the end of bar 248. category imprint: Differences between sources |
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b. 249
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The absence of the wedge in GE (→FE,EE,IE) is most probably due to an oversight by the engraver of GE. category imprint: Differences between sources issues: Errors in GE |
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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 |
1 in the last chord of each of these bars.
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 
