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b. 258

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

 in FE (→GE,EE)

Long accent – our alternative suggestion
..

A few subsequent  marks in bars 258, 259, 261 and 263 mean that these hairpins have most probably a double meaning: long accent and diminuendo. In the case of bars 258-259, however, according to us, the best compliance with the phrasing is achieved by separating both functions – the mark in bar 258 denotes a long accent, whereas the next one – a common diminuendo. It cannot be excluded that Chopin did write a long accent in bar 258 () – if the octave, filling the entire bar, was written according to his custom, i.e. in the middle of the bar, then, after moving it to the beginning of the bar in print, the long accent mark, considered by the engraver to be a  hairpin, was proportionally extended. Taking that into account, we suggest an alternative notation with long accent. 

category imprint: Interpretations within context

issues: Long accents

b. 258

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

​​​​​​​ in FE (→EE,GE1→GE2)

​​​​​​​ in GE3
..

A shift of the  mark most probably resulted from lack of space in [A] – in FE in bar 254 the mark is also placed next to the note and not under it, but it does not cause confusion there.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions

b. 258

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

..

FE is missing naturals lowering c​​​​​​​2(3) to c2(3) at the end of the 1st half of the bar. The accidentals were added in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 258

composition: Op. 22, Polonaise

..

In the main text we omit the  before f1 in the last L.H. chord, unnecessarily repeated in FE (→GE). In EE this accidental is absent due to the layout – the 2nd half of the bar is printed in a new line, as a result of which all three accidentals from the beginning of the bar were repeated before the 3rd chord.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Cautionary accidentals

b. 258-260

composition: Op. 44, Polonaise in F♯ minor

Slur to e4 in GE

Slur to c4 in FE, literal reading

No slur in EE
..

In FE b. 260 opens a new line, in which the slur from the preceding bars is not continued, although its ending in b. 259 clearly indicates that it should be continued. It is difficult to say whether this inaccuracy was related to the fact that EE omitted the slur. In the main text we give the slur of GE, which is certainly correct.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Errors in EE , Uncertain slur continuation