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b. 293

composition: Op. 16, Rondo in E♭ major

Hairpin in FE (→GE)

Hairpin in EE
..

In EE, the hairpin begins already on the 1st note of the bar. It is an arbitrary revision.

category imprint: Differences between sources

issues: EE revisions

b. 293

composition: Op. 16, Rondo in E♭ major

..

category imprint: Source & stylistic information

b. 293

composition: Op. 31, Scherzo in B♭ minor

Fingering in A

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

The digit 1, which in this context means that the f note should be taken over by the L.H., was ignored both by the copyist and the engraver of FE. A similar situation can be found in analogous b. 395, which makes us assume that Chopin could have added those digits in A already after having drawn up FC. See also b. 374. This is the only example of a silent takeover of a tied note by the other hand by means of fingering in Chopin's output. In a few other situations, the takeover was indicated by a corresponding rhythmic notation (the Nocturne in E major, Op. 62 No. 2, b. 35 & 73) or by a combination of vertical slurs before the chord (the Sonata in B minor, I mov., b. 103).

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 293

composition: Op. 31, Scherzo in B♭ minor

..

In A there are visible corrections and crossings-out in the R.H. part. Chopin tried a two-part notation there, probably the same as or similar to the one in b. 374.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 293

composition: Op. 44, Polonaise in F♯ minor

..

In the sources there is no  over the  mark, which is a patent inaccuracy, certainly repeated after [A].

category imprint: Interpretations within context

issues: Omission of current key accidentals