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b. 309
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composition: Op. 31, Scherzo in B♭ minor
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The oversight of the staccato dot by the sources based directly on A is justified, to a certain extent, since the small sign is placed not only above the note, but also above the ending of the slur, so that one could have easily overlooked it. The fact that Chopin almost certainly meant a dot in this place is proven by analogous b. 411, in which a more distinct mark was noticed by the copyist. category imprint: Differences between sources issues: Errors in FE , Errors of FC |
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b. 309
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composition: Op. 44, Polonaise in F♯ minor
category imprint: Differences between sources |
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b. 309
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composition: Op. 2, Variations, complete
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Single category imprint: Differences between sources; Editorial revisions issues: EE revisions , No pedal release mark , Inaccuracies in A |
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b. 309
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composition: Op. 2, Variations, complete
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The category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 309
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The accent in A (→GE→FE) can be interpreted either as a short accent or a long one. We adopt the latter due to the two clearly long accents in analogous bar 293 and 305. In EE and IE they were considered short accents. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies , Inaccuracies in A , |
in 
marks appear in Chopin's pieces quite rarely and – apart from the pieces' endings – most often result from oversights of 
to the bottom note of the octave on the 3rd beat of the bar, overlooked in the manuscripts, was added right away in 
