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b. 462

composition: Op. 31, Scherzo in B♭ minor

Long accent in A

Short accent in FC (→GE)

..

The shape of the accent in A suggests that it is a long accent. It is even more evident in similar b. 470. In FC (→GE) both marks were reproduced as common short accents. Taking into account the fact how carefully Chopin reviewed FC, the absence of corrections in those and similar places may mean that Chopin did not always consider the type of accent used to be a priority. We consider the version with a short accent featured in the principal source to be an acceptable variant.

category imprint: Differences between sources

issues: Long accents , Errors in FE , Inaccuracies in FC

b. 463-464

composition: Op. 21, Concerto in F minor, Mvt III

Quavers c1 in sources

Crotchets suggested by the editors

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According to us, the minor differences in the notation between these bars and analogous bars 423-424 do not indicate a different performance. Reducing the number of performance markings when repeating similar fragments is a quite frequent phenomenon in Chopin's music; it does not have to be an inaccuracy – cf. e.g. the note to bars 200-206 in the Bolero, op. 19. However, in the case of the additional crotchet stems for the cnotes, a reason for their omission (and the pedalling markings) could have been simply haste. Due to this fact, in the main text we suggest holding the bass note, as marked by Chopin for the first time.

category imprint: Editorial revisions

b. 463

composition: Op. 21, Concerto in F minor, Mvt III

No markings in sources

[ ] suggested by the editors

..

The missing pedalling may be related to distraction due to the transition into a new page in A – cf. the adjacent note. Due to this reason, in the main text we suggest adding markings on the basis of analogous bar 423.

category imprint: Editorial revisions

b. 463

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

No fingering in FE (→GE)

Fontana's fingering in EE

category imprint: Differences between sources

issues: EE revisions

b. 463

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

Fingering written into FEH

No teaching fingering

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The fingering of FEH, written most probably by the pupil, may be surprising, especially since in a similar figure two bars later, a different, more natural fingering was indicated.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH