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b. 265-266

composition: Op. 31, Scherzo in B♭ minor

No slurs in A (→FC→GE)

Slurs in FE (→EE)
..

According to us, the slurs combining e with f and e1 with f1 are a result of a mistake of the engraver of FE, who placed them to the left-hand side of the chord in b. 266, whereas they should be ties, placed to the right-hand side of the chord. It is supported by the following arguments:

  • the almost certainly erroneous third curved line, which turns out to be a tie of c1 – see the adjacent note;
  • problematic purpose of this addition – in relation to the top voice, led in octaves, the slur over the entire phrase encompasses precisely the notes that are combined by the discussed slurs.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Sign reversal , Partial corrections

b. 265

composition: Op. 31, Scherzo in B♭ minor

..

In A the beginning of the sotto voce indication was placed on the  mark, which had been written earlier.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 265-269

composition: Op. 22, Polonaise

No indications in FE (→GE)

Solo & Tutti in EE

[Solo] & [Tutti] suggested by the editors
..

In the main text we suggest adding pairs of the Tutti-Solo indications in b. 264-265 and 268-269. They were also added in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 265-267

composition: Op. 22, Polonaise

Naturals d & d1 in FE (→GE,EE)

5 cautionary accidentals suggested by editors
..

In the entire three-bar chromatic sequence, in the main text we suggest a few cautionary accidentals in the R.H. part –  of g1 in b. 265,  of a2 in b. 266 and  of e2 and  of f2, g2 in b. 267. In turn, we omit the naturals before d and d1 present in the sources in b. 266.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 265

composition: Op. 2, Variations, complete

in A

in GE1 (→GE2)

 in FE1, EE & GE3

in FESB
..

The  hairpin is written in A between the staves and begins after the 1st R.H. chord (in Af the bottom arm starts as early as at the beginning of the bar). In GE (→FE,EE) the mark was moved to over the R.H. part, which, in this case, does not significantly influence its meaning. The change was most probably forced by lack of space between the staves; it cannot come from Chopin. The slight change of range in GE1 (→GE2) – the beginning of the mark was moved slightly to the right – was intensified by all subsequent editions, while FESB additionally reversed the direction of the mark, which is a frequent mistake in the first editions of Chopin's pieces. 

category imprint: Differences between sources

issues: Errors in FE , Inaccuracies in GE , Inaccuracies in FE , Placement of markings , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Sign reversal