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b. 406
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composition: Op. 16, Rondo in E♭ major
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We add a cautionary category imprint: Editorial revisions |
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b. 407-415
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composition: Op. 39, Scherzo in C♯ minor
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In EE there are cautionary neutrals before a-a1 octave in bars 407-415. This may well be an editorial revision, similar to bars 65-73. category imprint: Differences between sources issues: EE revisions , Cautionary accidentals |
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b. 407
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composition: Op. 21, Concerto in F minor, Mvt III
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The accent in A seems to be short; however, when the note head of the minim had not been set in bold type yet, the impression could have been different. Therefore, it may be possible that it is actually the accent in GE1 (→FE), clearly longer than the accents in bars 401-402, that reproduces the proportions between the accent and the note head before it was set in bold type, hence written by Chopin's hand. Since a long accent seems to be more appropriate in this case, in the main text we give a sign in the form interpreted by GE1. category imprint: Differences between sources issues: Long accents , GE revisions |
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b. 407
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we add staccato markings both next to the top quavers and next to both f category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 408-409
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composition: Op. 11, Concerto in E minor, Mvt I
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In bar 408, the absence of the slur in FE (→GE1→GE2) must be an inaccuracy, which is supported by the slur in the next bar – it is difficult to imagine that Chopin would have indicated a possible performance difference of these pianistically identical figures only with the absence or presence of a slur. In EE, a slur was added over the semiquavers, whereas in GE3, in both bars the slur encompasses the last two beats of the bar; the first pair of semiquavers was marked, arbitrarily, with staccato dots. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
before e
3 in the main text.
, considering their absence to be an oversight of Chopin, the engraver or both. We consider the version completed like in 
