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b. 395

composition: Op. 31, Scherzo in B♭ minor

Fingering in A

No fingering in FC (→GE) & FE (→EE)
..

Just like in b. 293, the fingering digit written in A was not reproduced in any of the remaining sources, perhaps due to lack of understanding of its meaning.

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 395-399

composition: Op. 31, Scherzo in B♭ minor

Slur to end of bar 397 in A (→FC→GE1)

Slur to end of bar 395 in FE, literal reading

Slur to e1 in bar 396 in EE

Slur to bar 399 in GE2 (→GE3)
..

In the main text we give the ending of the phrase mark after A (→FC→GE1). The version of FE is erroneous and inaccurate (the phrase mark in b. 395 suggests continuation, yet in b. 396 there is no ending in a new line), which was revised in EE in the easiest way possible. The long phrase mark of GE2 (→GE3) is – just like in b. 295-297 – a result of a unifying revision.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , GE revisions , Uncertain slur continuation

b. 396-397

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

Slur to e1 in A, literal reading

Slur to f in GE (→FE→EE)

Slur to f1 in A, contextual interpretation
..

The slur of A clearly refers to the top voice, hence assigning it in the editions to the bass voice is almost certainly erroneous. However, the notation of A is inaccurate, as far as the range of the slur is concerned, since it does not go beyond bar 396, contrary to the unambiguous slurring of the part of bassoon I (and of the remaining instruments), also in analogous bars 52-53. Therefore, in the main text we interpret this slur as leading to f1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 396-399

composition: Op. 16, Rondo in E♭ major

Slurs in FE

Slurs in GE & EE
..

In FE, the slurs that begin in bar 396 and 398 (and also 400) end on the 5th semiquaver of the following bar, in a place where a new slur also begins. In this context, it is to be considered an inaccuracy. Perhaps the engraver literally conveyed Chopin's bold, imprecise slurs, which are frequently encountered in his autographs. The revisers of GE and EE correctly ended those slurs on the 4th semiquavers of the discussed bars.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 396-399

composition: Op. 16, Rondo in E♭ major

Hairpins in FE

Hairpins in GE

No marks in EE1 (→EE2)

Hairpins in EE3

Hairpins suggested by the editors
..

Small differences in range of the  hairpins in FE in bars 396-399 (as well as 400-401) are haphazard in nature and unintentional. Therefore, in the main text, we unify them following the example of the signs in bars 398 and 401, which, according to us, convey a possible meaning of those marks best – they serve as long accents, emphasisng the seventh of the diminished seventh chord (the 1st note of each group of four semiquavers) with regard to its resolution (the 3rd note).
In GE the notation of FE was reproduced with slight inaccuracies, however in EE1 (→EE2), the signs were omitted. It was only just the reviser of EE3 that added them, extending them to the entire semiquaver group in almost all cases. 

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

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Errors in EE